
LIBRARY OF CONGRESS 



Glass 




Gipglit}^? 

COPWIGHT DEPOSm 




NEW VORK. 
M VOUNG, PUBLISHER 

113 GREENWICH ST.REET. 



^HtSECRETSo ANCIENT: 
ANDMODERNiAAGIC. 




Illusion Trick : The above Trick la 



OR THE ART OF CONJURING UNVEILED 

As performed by tbe "Wonderful Magicians, Houdin, Col. Stodare, Heller, Wyniaii, 
Herr Alexander, and others. Comprising all their Best Stage Tricks and giving 
Full Ext)lanations for Performing them_suocessfnUv in tlie Farlor or on tlie Stage. 

These Tricks" are Elegantly Illustrated there- 
by making them much easier to perform, and 
teaches the reader at once how to he a Ma- 
gician without any further instructions. Any 
clear headed person can study this Book a 
short time and perform the most difficult 
Trick done by the best magicians in any 
countrj'. You can roll two Kabbits into one 
and bring bowls of gold fish from an Empty 
Handkerchief ; or Tefl a Card by Smelling it; 
or make aCard Vanish from the pack and be 
found in a Persons Pocket ; or Catch a Cliosen 
t Card on the point of a Sword ; to make a Card 
Rise bodily out of a Pack ; to pull Money 
tV-ough a Handkerchief: to make a Marked 
E ne fly into the Centre of an Apple ; to 
make a Coin Answer Questions ; to make it 
Shower real Money ; to make a Handkerchief 
Change into an Egg : to take several Bird- 
cages from a Hat ; to take Borrowed Rings 
and Live Doves out of an Omelet ; the 
Chinese Solid Ring Trick ; to make Fresh 
Flowers grow out of an Kmpty Flower Pot ; 
the Flying Glass of Water; to pull several 
Live Rabbits out of a Hat and then Boll them all into one ; to make Six Cards in- 
stantly appear in an Ordinary Bouquet ; to make borrowed artu'les appear 
Picture Frame ; it teaches the wonderful Sphi" " ^" 
worth a hundred dollars to 
Know. Ihe Cabinet of Proteus 
or the Home of Skeletons and 
Spirits ; the Indian Basket 
Trick is a fortune to an ama- 
teur ; to make an ordinary 
Drum hung to the ceiling 
tap or roll ; to make a Living 
Woman Sleep in Mid Air, five 
Illustrations; to Produce Eggs 
from a person's mouth ; the 
Vanishing Glove; to take a 
Dozen Babies from a Hat ; to 
send a Borrowed King into an 
Egg ; to pass a Ring from the 
oiTe Hand to either Finger of 
the other Hand : to change 
tour Aces held tightly by a 
person Into four diflferent 
cards; a card to vanish and be 
found wherever the performer 
pleases. The above are h few 
among many of the wonderful 
Tricks that this Book teaches 
how to perform. Any person 
desiring to give an Entertain- 
ment or Show cither in a 
Parlor or Hall, can learn in a 
short time from this Book 
tricks enough to deli^'^ht a 
Company for two Ivmrs. Many 
of these Tricks are the tx'st 
ever performed. One tliousand 
dollars a night has been re- 
ceived at the door to see these 
very Tricks performed. You 

can loam them, and perform , - », ^„ „„- -„ 

theiTi; and this Book is. worh a th.uisand dotlars to anv^ pe 
Parlor or Stage Magic. Send for it. 
to Agents, sent by mail, post paid for rw. 
dress, ^t.OO. Ask your friends to buy or 




<just now publ 



that desires to learn 
implc Copy and Terms 
Five Copies to one ad- 
nd thus get ymir own Book free. 



Address, 



M. YOUNG, 173 Greenwich St., N. Y. 



A NEW AND WONDERFUL BOOK !! 



JJJST PUBLISHED. 



OF 



Love Making 

SOLVED, 

OE, AN 

Sasy Road to MarMage. 

start Eiglit and tlie Battle is Half Won ! 
A life study and most energetic labor lias 
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Love, will find in this Book StrangieiSe- 
crets that no friend could tell them, and 
an Easy Way to Marriage lliro' 
I4 ;ve's Intricate Patliway. It also 
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nat the Married should know. If a wife 
as a wayward hu^^baiid, or feels that she 
is neglected, get this Book in his hands at 
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secret. If you follow this vriiter's advice 
failure to win the object of your choice is 
impossible. Send for this Eook. It will 
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civilized and bar'nu'ous has been ransacked to get Tlie Secrets 
e 3I;iiiiiig. It will bring joy to thousands of both sexes, and 
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^ combined. This Book teaches you how to meet every 
ftiu_;-- K'v cniuected with Courtship aud Matrimony, and hns already 
htcd in immense sensation among every grade of society that it has 
jhiU. It. cuts deep aud strikes the root of the tree. Mt is lull of 
luge Tilings regarding Love Making which yoi: never lieard of be- 
lt you are in love, and it is not reciprocated, this Great Book w-ill 
wide Love's barred door for you, and break down every barrier, 
relous truths burst forth from every page, and the Beacon Light of 
)ve illumines every footstep and makes Love's Pathway clear. 
Sample Copy and Terms to Agents, sent by Mail post paid, for 25 Cts. 
or Five Copies to one address for $1.00. Ask four friends to buy one 
eaclx, and thus get your own Book free. Address all orders. 

M. YOUNG, 173 Greenwich Street, New York. 




THE STUDENT'S PS ANUAL 

OF PHONIC 

Short Hand 

WITHOUT A M:A.K^TEXi.. 

[Matthew 6th Chap. 3d to 9tli Vebse.] 

Complete Introduction to the Stenographic Art, as used for Business Cor- 
respondence, and Verbatim Reporting. The most Practical Book for 
Bsginuars, supervised and arranged 

im-y- :h]_ iBXJi^Lisr^;^ 

Teacher of Phonography at Vie Nfio York Mercant'le Library and Cooper Union,' 
and Principal of New York School, of Phonograpi-i'. 

IMralsd by Plates Saving Frintid k ih Srg i Mkiii 

'•THE STUDENT'S MANUAL TO PHONIC SHORT 
HAND" is based wliolly upon a system that has been refiuced to everj'- 
day practice. The signs are all constructed on simple plans ; and, while 
capable of being written with extraordinary quietness, can be read easier 
than the plainest print copy. Each sign plainly indicates a sound ; and as 
the sounds in all languages are few, it stands to reason that this phonic 
method is incomparably easier of acquisition than any of the old methods. 
A boy of twelve by this method will learn in a week what it would take an 
a lult a year to learn by the obsolete way. It is hardly necessai-y to point 
out the many advantages of Shortliand Writing. Every young man about 
to start in the world will find this art of immense service to liim. To say 
nothing of its absolute necessity to an editor, a press or legal reporter, it is 
valuable to clerks, lawyers, travelers, and jiiercliants. This work is the only 
simple and thorough exposition oi the principle and practice of the art of 
Shorthand v/riting published, and it is written with special reference to the 
wants and requirements of those who desire to learn 

WITHOUT THE A!D OF A TEACHER. 

The book is iUu<it;-.itf'i vrith iinmoron= exiimplps. Ko expense li:is lioen spared to 
make the art extroninlv siniiilc iiiid cusv oi' <■( niiireli on.' iiu' , ; u tliMt iniv one can, in a 
▼ery short time, n>p.irl' Scthkhi-. Si.coriics, Ti inl.-. otr., v. itli Oi^.-e, r.-i'pidity, and pre- 
cision. Many I^jvs :iik] (lirl.^. I'rom tho i usli net ion s i'aiiud frojil < - F.-, B5- jilone, 
havebecom.i ex'v-U -nt Keporloi s, and a: e now rc;'oi vi .i;' fioni :;l.ri:^. ro i;5 (.(■() a year as 
Expert Stenou'rupiieiw. It is n<it a ditHcnlt stiulv, and vwn can i iVrt yourseir in a 
short time, HO that V oi will Imvc^ a nr - >-» i ««■-,— # nj tiiat, always commancts 

high salaries. A cop v of riils i.ook will be a vers' prontahle investment, and wc would 
advise the Student to pnrchase llic CiniU i::-..^i-..a 6 ;ss,<;.ai). as the Book will 

btt In constant nse whiie I'-arnin^r. 

Price, 50 Ct - .''■V;.'">'/ ^--'"Vs l.our.d in doih. Gilt. $ \ .QO, Postpaid. 

Published by H. YOlINi , 1 73 Greemvicli St., Neiv York. 



is '.5 

SEOKETS OF ANCIENT 

AND 

MODERN MAGIC: 

OR THE ART OF I %Q 

CONJURING UNVEILLED 



A« PEEFOEMED BY THE WoNDEEFUL MAGICIANS, HOUDIN, 

HELLER, HERR ALEXANDER, MASKELYNE 
& COOKE, BAUTIER and othees. 

COMPRISING 

All jDSi-'THEiE Best Stage Teicks, giving Full Explana- 
tions FOE PeEFOEMING THEM SUCCESSFULLY IN 
THE PaELOE OE on THE StAGE. 



NEW YORK : . 
173 GEEEN\^^CH Sxeeet. 



Entered according to the Act of Congress in the year 18S0, by 
M. YO UJVG, in the Office of the Librarian of Con- 
gress, at Washington, D. C 



PREFACE. 




HIS volume is designed to be a path, if 
followed to the end, may prove to be an 
open sesame to the Mystery or Art of Con- 
juring. The Compiler has confined himseli' 
to the explanation of some of the leading 
Specialties or Tricks, — those that are the 
most popular, the most mysterious, — the 
most wonderful. We do not claim the sole 
authorship of some of these very perfect 



descriptions and beautiful Illustration, as a portion of them 
have been selected from English and French Authors, the 
most prominent work that we are indebted to is" Modern 
Magic," 500 pp. published in England. It is the most complete 
worK published in any country. It can be bought of any 
New York Bookseller, or we can furnish it. Price $2.50, 



CONJURING AND MAGIC. 




[F late years Amateur Magicians have sprouted up like 
mushrooms all over our land, — starting from the 
'woodshed to the schooihouse show they have, in 
'many instances, "hired a hall," and given very 
Weditable performances. Why not ? Some of these 
boy Amateurs bye-and-bye — must take the places that 
I j are left vacant by Heiler, Herman, McAllister, Wyman, 
J»:|p Nicholl, and those that are now astonishing this count- 
ry oy their marvellous feats. That there has been Jugglery in all 
ages of the world the pages of history abundantly prove. The 
ancient religion of the Heathen were mixed up with an ex- 
tensive system of Legerdemain, and were more or less tissues 
of trickery, slight-of-hand tricks of the tongue, by which the 
word was kept to the ear but broken to the hope, and various 
miraculous deceptions were the means by which the priests of 
Egypt, Greece and Rome used to subjugate mankind. The 
more important secrets of the art have been known to but few, 
and these few have jealously guarded them, knowing that the 
more closely they concealed the clue to their mysteries, the 
more would those mysteries be valued. At the present day the 
secrets of the art are not so well kept ; and there is hardly a 
trick performed upon the Stage which the amateur may not 
purchase for a reasonable expenditure. 

There is a vast difference between telling how a trick is done 
and teaching how to do it. If the reader will dilligently 
follow the instructions given in this little book, he will be 
able, in due time, not only to astonish his friends extempore 
with a borrowed coin or packs of cards, but to roll two rabbits 
into one, and bring bowls of gold fish from empty pocket- 
handkerchiefs. But everyone cannot be a Houdin, or a 
Heller, or a Bautier, or a Wyman, but anyone by practice and 
perseverance can become a toleralDle Conjuror, Persevere. A 
wizard is not to be made in a day. 

The first rule to be borne in mind by the aspirant is this : 
" Never tell your audience beforehand what you are going to do." If 
you do so, you at once give their vigilance the direction which 
it is most necessary to avoid, and increase tenfold the chances 
of detection. We will give an illustration. There is a very 
good trick (which will be described at length hereafter) in 
which the performer, after borrowing a handkerchief, gives it 



10 



MODEKN MAGIC, 



to some one to hold. When it is returned, it proves to b© torn 
into small pieces. It is again handed to the holder, who is 
instructed, in order to restore it, to rub it in a particular man- 
ner ; but when again unfolded, it is found in a long strip. 
These effects are produced by successive adroit substitutions, 
and the whole magic of the trick consists in the concealment 
of the particular moment at which each substitution is effected. 
Now, if you were to announce to the audience beforehand that 
you were about to cause the handkerchief to appear in several 
pieces, or in a long strip, they would at once conjecture that 
the trick depended on an exchange, and their whole vigilence 
being directed to discover the moment of that exchange, you 
would find it all but impossible to perform the trick without 
detection. If, on the other hand, you merely roll up the hand- 
kerchief and ask some one to hold it, the audience, not knowing 
what you are about to do, have no reason to suspect that you 
have handed him a substitute ; and when the transformation 
is exhibited, the opportunity of detection will have already 
passed away. 

It follows, as a practical consequence of this first rule, that 
you should never perform the same trick on the same evening. The 
best trick loses half its effect on repetition, but besides this, 
the audience know precisely what is coming, and have all their 
faculties directed to find out at what point you cheated their 
eyes on the first occasion. It is sometimes hard to resist an 
encore, but a little tact will get you out of the difficulty, 
especially it you have studied, as every conjuror should do, 
the variation and combination of tricks. There are a score of 
different ways of vanishing a given article, and as many of re- 
producing it ; and either one of the first may be used in con- 
junction with either of the second. Thus, by varying either 
the beginning or the end, you make the trick to some extent a 
new one. The power of doing this readily is very useful, and 
among other advantages will enable you to meet an encore 
by performing some other trick having some element of 
simiiarity to that which you have just completed, but termi- 
nating in a different and therefore unexpected manner. 

The student must cultivate from the outset the art of "talk- 
ing," and especially the power of using his eyesandhis tongue 
independently of the movement of his hands. To do this, it 
will be necessary to prepare beforehand not only what he in- 
tends to do, but what he intends to say, and to rehearse 
frequently and carefully even the simplest trick before attempt- 
ing it in public. It is surprising how many little difficulties 
are discovered on first attempting to carry into effect even the 
clearest written directions ; and nothing but practice will over- 
come these difficulties. The novice may be encouraged by as- 
suming, as he safely may, that the most finished of popular 



11 



MODEEN MAGIC. 



performers was once as awkward as himself, and were he to 
attempt any unfamiliar feat, would probably be as awkward 
still. 

A conjuror should always be able to " palm" well. That is 
done by holding a coin in the fingers, and by a quick move- 
ment passing into the middle or palm of the hand, and by con- 
tracting the muscles on each of the hand to retain it there — 
making the hand appear open and as though nothing were in 
it. After a little practice this will become comparatively easy ; 
but it will require the exercise of great perseverance in order 
to become perfect. The pains, however, will be well bestowed, 
as this is one of the principal means by which prestidigiators 
deceive their audiences. 

MAKINQ THE PASS. 

In many of the tricks with cards, it is necessary to "make 
the pass," as it is termed, which is a very neat and simple 
movement. The operator shows a card, which he wishes his 
audience to believe he can change simply by using the mysteri- 
ous words, " Presto, begone !" "While, however, he is saying 
these words, he gives a sharp blow on the pack he holds in his 
hand, and at the same time slips the card under the pack and 
takes off the top one, or vice versa. Practice, in this as in other 
matters, will impart great dexterity to the operator ; and as the 
hand can be trained to move more quickly than the eye can 
see, he will he able to go through the movement without it be- 
ing perceived by his audience. 

The following mode of "making the pass" should be well 
studied :— Hold the pack of cards in your right hand, so that 
the palm of your hand may be under the cards ; place the 
thumb of that hand on one side of the pack, and the first, 
second and third fingers on the other side, and your little 
finger between those cards that are to be brought to the top and 
the rest of the pack. Then place your left hand over the card 
in such a manner that the rhumb may be at 5, the forefinger at 
6, and the other fingers at 7, as in the accompanying figure 

Left hand. 

Right hand. 7 



Bottom 



Top 



Little Finger 



5 



12 



MODERN MAGIC. 



The hands and the two portions of the pack being thus dis- 
posed, you draw oft the lower cards, confined by the little 
linger and the other parts of the right hand, and place them 
with an imperceptibly quick motion on the top of the pack. 

But before you attempt any of the tricks that depend on 
"making the pass"' you must have great practice, and be able 
to perform it so dexterously and expeditiously that the eye can- 
not detect the movement of the hand, -or you may, instead of 
deceiving others, expose yourself. 

FORCING A CAED (sttMt a la coupe. ) 

In card tricks also it is frequently necessary to *' force a 
card," by which you compel a person to take such a card as you 
think fit, while he imagines he is taking one at haphazard. 
The following is perhaps, the best method of performing this 
trick :— Ascertain quietly, or whilst you are amusing yourself 
with the cards, what the card is which you are to force ; but 
either keep it in sight, or place the little finger of your left hand, 
in which you have the cards, upon it. Next— desire a person to 
select a card from the pack, for which purpose you must open 
them quickly from the left to right, spreading the cards 
backwards and forwards so as to perplex him in making his 
choice, and when you see him about to take one open the pack 
until you come to the one you intend him to take, and just at 
the moment his fingers are touching the pack let its corner pro- 
ject invitingly a little forward in front of the others. This will 
seem so fair that in nine cases out of ten he will take the one 
so offered, unless he is himself aware of the secret of forcing. 
Having by this method forced your card, you request him to 
examine it, and then give him the pack to shuffle, which he may 
do as often as he likes, for you are of course always aware 
what card he has taken. A perfect acquaintance with the art 
of forcing is indispensably necessary before you attempt any of 
the more difficult card tricks. 

THE "LONG CAED." 

Another stratagem connected with the performance of many 
of the following tricks is what is termed the " Long Card ;" 
that is, a card either a trifle longer or wider than the rest of the 
pack, so as not to be perceptible to the eye of the spectator, 
but easily distinguished by the touch of the operator. Goo(i 
operators sometimes have both cards in the pack. Any book- 
binder will shave the edges of your pack so as to leave you a 
long and a wide card. 

Having laid down what we may be allowed to term the 
"leading principles" which rule the art of card conjuring, we 
now propose to explain the various tricks which may be per- 



MODEEN MAGIC. 



13 



formed with a pack of ordinary playing cards. They depend 
to some extent for success on natural dexterity, a knowledge of 
the science of numbers, and somo simple apparatus, easily 
procured or made by an ingenious youth. For instance, §11 
the court cards may be made to come together by relying upon 
the doctrine of chances. Thus i — Take the pack, separate all 
the kings, queens, and knaves, and place them all together in 
any part of the pack you choose. There are five hundred 
chances to the one that a stranger cannot in twelve cuts disturb 
the order in which they are placed. This trick is easy, and 
when successfully carried out is amusing. It may be made 
more so by placing one half of the above number of cards at the 
bottom of the pack and the other half at the top. Of a similar 
character is the famous trick of — 

GUESSING A CAED TOUGHT OF. 

To do this well you must attend to the following directions : 
— Spread out the cards on the right hand in such a manner that 
in showing them to the audience, not a single card is wholly 
exposed to view wdth the exception of the king of spades, the 
upper part of which should be clearly seen without any 
obstruction either from the fingers or from the other cards. 
When you have thus spread them out, designedly in fact, but 
appareotly at random, show theiii to one of the spectators, re- 
questicg him to thinly of a card, and at the same time take care 
to move the hand a little, so as to describe a segment of a circle, 
in order that the audience may catch sight of the king of spades 
without noticing that the other cards are all partially cancealed. 
Then shuffle the cards, but in doing so you must not lose sight 
of the king of spades, which you will then lay on the table face 
downwards. You may then tell the person who has thought 
of a card that the one in his mind is on the table, and request 
him to name it. Should he name the king of spades, which he 
would be most likely to do, you will of course turn it up and 
show it to the company, who, if they are not acquainted with 
the trick, will be very much astonished. If, however, he should 
name some other card — say the queen of clubs — you must tell 
him that his memory is defective, and that the card could not 
have been the card he atlirst thought of. Whilst telling him 
this, which you must do at as great length as you can in order 
to gain time, shuffle the cards rapidly, and apparently without 
any particular purpose, until your eye catches the card he has 
just named (the queen of clubs). Put it on the top of the pack, 
and, still appearing to be engrossed with other thoughts, go 
through the first false shuffle to make believe that you have no 
particular card in view. When you have done shuffling, take 
care to leave the queen of clubs on the top of the pack ; then 



14 



MODEKN MAGIO. 



take the pack in your left hand, and the king of spades in your 
right, and while dexterously exchanging the queen of clubs for 
the king of spades, "What must I do, gentlemen, that my trick 
should not be a failure ? what card should I have in my right 
hand ?" They will not fail to call out the queen of clubs, upon 
which you will turn it up, and they will see that you have been 
successful. 

This trick, when well executed, always has a good effect, whether 
the spectator thinks of the card you intended him to think 
or, from a desire to complicate matters, of some other. It, how- 
ever, requires considerable presence of mind, and the power of 
concealing from your audience what your real object is. 

Another method ot making the spectator think of any particu- 
lar card is the following : — Pass several cards under the eye of 
the person selected, turning them over so rapidly that he sees 
the colors confusedly, without being able to distinguish their 
number or value. For this purpose take the pack in your left 
hand, and pass the upper part into your right, displaying the 
front of the cards to the audience, and consequently seeing 
only the backs yourself. Pass one over the other so rapidly 
that he will not be able to distinguish any one of them, until 
you come to the card which you desire to force — presuming of 
course that you have made yourself acquainted with its posi- 
tion. The card you select ought to be a bright looking, and 
easily distinguishable one, such as the king of hearts or the 
queen of clubs. Contrive to have this card a little longer be- 
fore your audience than the rest, but avoid all appearance of 
effort, and let everything be done naturally. During the in- 
tervel watch the countenance of the spectator, in order that you 
may be sure he notices the card you display before him. 
Having thus assured yourself that he has fixed "upon the card 
you selected, and that he is not acquainted with the trick, you 
then proceed as before. Should you come to the conclusion 
that he has fixed upon some other card, you will then have 
recourse to the " exchanged card" trick, as explained in the 
previous trick. 

TO TELL A CAED BY SMELLIKG. 

A very clever trick, and one which never fails to excite 
astonishment at an evening party, is to select all the court cards 
when blindfolded ; but before commencing it you must take 
one of the party into your confidence and get him to assist 
you. When all is arranged you may talk of the strong senso 
of smell and touch which blind people are said to possess, and 
state that you could, when blindfolded, distinguish the court 
cards from the rest, and profess your willingness to attempt it. 
The process is this ; — After you have satisfied the company that 



MODEEN MAGIC. 



16 



your eyes are tightly bound, take the pack in your own hands, 
and holding up one of the cards in view of the whole company, 
feel the face of i twith your fingers. If it is a court card, your con- 
federate, who should be seated near to you, must tread on your 
toe. You then proclaim that it is a court card, and proceed to 
the next. Should you then turn up a common card your con- 
federate takes no notice of it, and you inform the company ac- 
cordingly ; and so on until you have convinced the company 
that you really possess the extraordinary power to which you 
laid claim. 

TO MAKE A CABD VANISH FEOM THE PACK, AND BE FOUND 
IN A PEBSON's POCKET. 

Slightly moisten the back of your left hand. Offer the pack to 
be shuffled. Place it face downwards on the table, and request 
one of the company to look at the top card. Bequest him to 
place the back of his left hand upon the cards and press heavily 
upon it with his right. In order that he may the better compre- 
hend your meaning, place your own hands as described in 
figure, and request him to imitate you. When you remove your 
left hand, the back being moistened, the card will stick to it. 
Put your hands carelessly behind you, and with the right hand 
remove the card. All will crowd round to see the trick. 
Pretend to be very 
particular that the 
person who places his 
hand on the card 
shall do so in pre- 
cisely the right posi- 
tion. This will not 
only give you time, 
but draw all eyes to 
his hands. Mean- 
while, watch your op- 
portunity and slip 
the card into the tail 
pocket of one or other 
of the spectators. Now 
announce that you 
are about to order the 
top card, which all 
have seen, and which 
Mr. A. is holding 
down BO exceedingly 
tight, to fly away 
from the pack and 
into the pocket of Mr, 




,16 



MODERN MAGIC. 



B., making tlie clioice a})|)aiently Lap-hazard. On examina- 
tion your commands will be foniicl to liaA^e been fulfilled. It 
has a good effect, when practicable, to slip the card into the 
pocket of the same person who is pressing upon the pack. 

TO PLACE THE FOUR KINGS IN DIITEEENT PABTS OE THE PACK, 
AND TO BBING THEM TOGETHER BY A SIMPLE CUT. 

Take the four kings (or any other four cards at pleasure), and 
exhibit them fan-wise (see Fig. ), but secretly place behind 
the second one (the king of diamonds in the figure) two 
other court-cards of any description, which, being thus hidden 
behind the king, will not be visible. The audience being 
satisfied that the four cards are really the four kings, and none 
other, fold them together, and place them at the top of the 
pack. Draw attention to the fact that you are about to distribute*- 
theye four kings in different parts of the pack. Take up thti 
top card, which, being really a king, you may exhibit without 
apparent intention, and place it at the bottom. Take the next 
card, which the spectators suppose to be also a king, and plact; 
it about half way down the pack, and the next, in like manner, 
a little higher. Take the fourth card, which being actually a 
king, you may show carelessly, and replace it on the top of the 

pack. You have now 
■really three kings at 
the top and one at the 
bottom, though the 
audience imagine that 
they have seen them 
distributed in different 
parts of the pack, and 
are proportionately 
surprised, when the 
cards are cut, to find 
that all the kings are 
again together. 

It is best to use 
knaves or queens for 
the two extra cards, as 
being less distinguish- 
able from the kings, 
should a spectator 
catch a chance glimpse 
of their faces. 

There are other and 
better modes of bring- 
ing together four ap- 
parently separated 




MODERN MAGIC. 



17 



cards by the aid Of sleight-of-liand, which will be explained in 
due course ; but we have thought it well to give also this 
Bimpler method, as it ic always an advantange to possess two 
different modes of performing the same feat. 

A CAED HAYING BEEN WITHDEAWN AND EEPLACED, TO CALL IT 
FEOM THE PACK, AND TO MAIia IT COME TO YOU OE ITS 
OWN ACCOED. 

This is a very simple trick, but, if neatly executed, will 
create a good deal of wonderment. It is performed as follows: 
— You must procure beforehand a long hair from a lady's head. 
One end of this must be fastened by means of a bent pin, or 
in any other way you find most convenient, to the front of 
your waistcoat, which should be a dark one. At the other end 
of the hair fix a little round ball (about half the size of a pep- 
per-corn) of bees'-wax. Press this little ball lightly against 
the lowest button of your waistcoat, to which it will adhere. 
Yon will thus always be able to find it in a moment's notice 
without groping or looking down for it, which would be likely 
to draw the eyes of the spectator in the same direction. 

E-equest the audience to examine the cards, that they may be 
sure that there is no preparation about them, and as a further 
proof get two or three persons to shuffle them in succession. 
When the cards are returned to you, invite some person to 
draw one, and, while he is examining it, drop your right hand 
carlessly to your waistband, and remove the little ball of wax 
to the tip of your right thumb, to which it will r/lhere without 
interfering with the movements of the hand. ^ -n the card 
is returned, make the pass to bring it to the f > of the pack, 
and press the little ball of wax upon the b of the card, as 
near the edge as possible. Then sluK^iethe cards. The 
shuffle may be a genuine one, but yon must take care to keep 
the lower edge of the chosen card hnl t an inch or so below the 
remaining cards, that the little ball <;f wax may not be disturb- 
ed. The chosen card will, after the shuffle, be in the middle 
of the pack, but attached to your waistcoat by the hair. 
Bpvend the caxds face upwards on the table (by which means 
the wax, being on the back of the card, will be out of sight), 
taking care not to detach the hair. You then address your 
audience to the following or some similar effect : — " In the old 
style of conjuring, I should merely have picked out your card, 
and handed it to you ;and there was a time when people would 
have thought that a very good trick, but nowadays we should 
regard that as a very lame conclusion. I can assure you that 
I have not the smallest idea what your card was. How do you 
suppose I intend to find out?" Various guesses are hazarded, 
but you shake your liea4 at each, No,'' yon continue, my 



18 



MODEEN MAGIO. 



process is much simpler than any you have suggested. I shall 
merely order the card you chose to walk out of the pack, and 
come to me." Pronounce any magic formula you like, at the 
some time beckoning to the cards, and gradually withdrawing 
yourself away from the table, when the card must needs follow 
you. As it reaches the edge of the table, receive it in the left 
hand, and then take it in the right, drawing off with the first 
finger and thumb of the left hand the wax at the back. Ask 
the person who drew whether that was his card, and again 
hand the card and the rest of the pack for examination. This 
little trtck, thongh simple, will require a good deal of practice 
to enable you to perform it neatly, but the effect produced by 
it will well repay your trouble. 

It may be well to mention, once for all, as bees'-wax is an 
article of frequent use in magical operations, that if, as some- 
times happens, the pure wax is found too hard, or not suf- 
ficiently adhesive, the addition of a small quantity (say an 
eighth part) of Venice turpentine, mixed with it in a melted 
condition, will make it all that can be desired. 

THE MAGIC SWOED. A CAED BEING DRAWN AND EEPLACED, AND 
THE PACK FLUNG IN THE AIE, TO CATCH THE CHOSEN 
CAED ON THE POINT OP THE SWOED. 

There is a trick somewhat similar in effect, in which, the 
pack being flung in the air, the chosen card is caught in the 
hand of the performer. The trick in this form makes a very 
good prelude to the still more surprising one which we are 
about to describe. 

In the trick ' ^ove mentioned, an ordinary pack is used, and 
the spectator i., owed to draw whatever card he pleases. The 
card, when retu V is brought to tho top by the pass, and 
palmed ; and, thou^.. -nipposed to be caught amid the falling 
shower, in reality nevt i leaves the hand of the performer, The 
audience may possibly La re a suspicion of this, and you may 
hear a faint murmur to the ffect that " he had the card in his 
hand ! ' and so on, "When this occurs, it serves as a very 
natural introduction to the trick with the sword. You say, 
" Ah ! yon fancy I had the card in my hand ? . I will repeat 
the trick, in order to show you that you are mistaken. Will 
some one be kind enough to draw another card. Thank you. 
Don't return the card to me, but put it back in the pack your- 
self. Now be kind enough to shuffle thoroughly. You cannot 
say I have the card in my hand this time, at all events. Ex- 
cuse me one instant, while I fetch my magic sword," You go 
behind your screen, and return, holding in your hand a 
drawn sword. You place yourself in fencing attitude, and 
addressing the person who holds the cards, say, "I am going 



MODERN MAGIC. 



19 



to give yon the xrords, one ! two ! three! At the word " three!" 
will you please throw the cards in the air, so as to fall lightly 
on the point of my sword, when I will pick out with the point 
the identical card you drew. Spread the cards a little in a fan 




shape before you throw them, so that I may get a fair sight of 
them. Are you ready? One, two, three !" At the word three, 
the cards are thrown, the performer makes a lunge among 
them, and a card instantly seen fluttering on the point of the 



20 



MODEEN MAGIC. 



sword, and, on examination, is found to be the very card 
which was drawn. 

The secret, of this surprising feat lies mainly in the sword. 
This is an ordinary small-sword (see Fig,), with a three-sided 
rapier blade, but altered in a particular way for the purpose of 
the trick. The tip of the blade {see Fig.) is cut off at about a 
third of an inch distance from the extreme point, and across 
concave side of this tip, and also across the corresponding 
part of the shortned blade, are soldered minute cross- 
pieces of brass, each bent outwards in the middle 
so as to form, with the concavity of the blade, a kind of eye 
just large enough to admit freely a piece of thin black elastic 
cord, the other end of which is passed through a similar small 
hole in rhe guard of the hilt. The elastic thus lies along the 
hollow side of the blade, passing through the two "ej'-es', 
already mentioned, and is kept in position by a knot at each 
end. The tension of the elastic holds the moveable tip in its 
natural position at the end of the blade. It may, however, be 
drawn away from it in any direction as far as the elastic will 
permit, but, when released, immediately flies back to its old 
position. On the same side of the hilt— viz., the side farthest 
away from the palm of the hand when grasping the sword (see 
Fig)— is fixed a flat, oblong piece of tin, painted black, with 
its longer edges folded over about half an inch on each side, 
in such manner as to form a receptacle for a card. 

Unless you are tolerably expert in forcing, you will also 
require some forcing cards of the same pattern as the or- 
dinary pack you have in use. These, however, need not be 
a full pack, a dozen cards alike being amply suflicient for 
your purpose. You commence your preparations by taking 
one of the cards of the forcing pack, cut a small slit in its 
centre with a penknife, and thrust completely through it the 
moveable tip of the sword (taking care not to eu large the 
hole more than absolutely necessary), and place the sword 
i^hus prepared out of sight of the audience, but so as to be 
easilj'' got at when you want it. Have your forcing cards in 
your pocket, or somewhere where you can lay your hand on 
them without attracting observation, and your ordinary pack 
on the table. You may begin by remarking, " Let me ask you 
to take particular notice that I perform this trick with whatever 
card 3^ou choose, not influencing your choice in any way. To 
show you that I don't compel you to take any particular card, 
I will just take a handful of cards from the top of the pack" (as 
you say this you place yoMr forcing cards, which you have pre- 
viously palmed, for an instant on the ordinary pack, immedi- 
ately taking them off again, as if they h'ed formed part of it, and 
were the handful of cards you referred to, and offer them to. 

some Qne to draw) 



MODEKN MAGIC. 



21 



Take whicherer you please —first card, last card, middle 
card, it is precisely the same to me. Observe that I don't at- 
tempt to press upon, you any particular card, but hold the cards 
perfect motionless while you make your choice." As soon as 
a card drawn, without waiting for it to be repleaced, return to 
your table, holding the remaining forcing cards in your left 
hand. Pick up the pack with your right hand. Place it on 
the cards in your left hand, at the same moment making the 
pass to bring these cards to the top. Palm these (with the 
right hand), and dropping them into your profonde, or else- 
where out of sight, advance with the pack to the person who 
drew, and request him to replace his card, and shuffle 
thoroughly. While he does so, you retire to fetch your sword, 
as before mentioned. Before returning to the audience, you 
prepare it as follows :— Taking it in your right hand in the 
ordinary manner, you draw down with the other hand the 
pierced card, and slida the card endways into the receptacle 
on the hilt. The elastic, which is now stretched to double its 
ordinary length, will pull at the card pretty tightly ; but you 
retain it in position by pressing on the face of the card with 
the second and third fingers of the hand that grasps the hilt. 
Having done this, you return to the audience, taking care so 
to stand that the back oi the hand that holds the sword shsdl 
be towards them. When the cards are flung in the air, as 
already described, you make a lunge among them, and at the 
same moment relax the pressure of the fingers on the pierced 
card. The elastic, being thus released, flies rapidly back to 
its original position, and carries the moveable tip, and with it 
the card, to the end of the blade, by which the card appears to 
be transfixed, as in Fig. The movement of the sword in the 
lunge, coupled with that of the falling cards, completely covers 
the rapid flight of the pierced card from hilt to point. To get 
the card off the sword, pull it down the blade, and tear it 
roughly off. When you have taken off the card, drop the point 
of the sword, and hand the card at once to the drawer for ex- 
amination . This serves to direct attention, not only from the 
sword itself, but also from the cards scattered on the ground, 
among which the one actually drawn still remains. 

This trick is sometimes performed with three cards instead 
of one. The working of the trick is the same, save that you 
use a forcing pack consisting of three cards repeated, and that 
in preparing the sword the two first cards which are threaded 
on the elastic are perforated with holes of such a size, as to 
allow them, when released, to slide partially down the blade, 
t ie first nearly to the hilt, and the second about half way. 



22 



MODEKN MAGIC. 



THE BISING CARDS {La HoukUe). — SEVERAL CARDS HAVING BEEN 
DRAWN, RETURNED, AND SHUFFLED, TO MAKF. THEM RISE 
SPONTANEOUSLY FROM THE PACK. 

This is one of the best of card tricks. The performer ad- 
vances, pack in hand, to the company. He invites three per- 
sons each to draw a card. The cards having been drawn, they 
are replaced in different parts of the pack, which is thoroughly 
shuffled. The performer then places the pack in a tin box 
or case, just large enough to hold it in an upright position. 
This case is generally in the form of a lyre, open in front and 
at the top, and supported on a shaft or pillar, twelve or fifteen 
inches high (see Fig. He then asks each person in succession 
to call for his card, which is forthwith seen to rise slowly from 
the pack, without any visible assistance, the performer stand- 
ing quite apart. 

The ingenuity of different professors has added little embel- 
lishment of a humerous character. For instance, the performer 
may remark, addressing one of the persons who drew, I will 
not even ask the name of your card, sir. You have only to say, 
' I command the card I drew to appear,' and you will be 
obeyed." He does so, but no effect is produced ; the cards re- 
main obstinately motionless. The command is repeated, but 
with the same result. The performer feigns embarrassment, 
and says, "I must really apologize for the disobedience of the 
cards. I cannot tell how it is ; they never behaved in this 
way before. I am afraid I must ask you to name the card, 
after all, when I will try my own authority." The cards proves 
to have been a queen, say the queen of spades. " Oh," the 
performer says, " that quite explains it. Queens are not ac- 
customed to be ordered about in such premptory manner. If 
we try again in becoming language, I dare say we shall be 
more successful. Let us try the experiment. Say, ' Will your 
Majesty oblige the company by appearing? " Thus propitiated, 
the card rises instantly. Occasionally a knave is one of the 
cards drawn, and, when summoned, scandalizes the performer 
by appearing feet formost. He is appropriately rebuked, and 
trust down again by the professor, upon which he immediately 
reappears in proper attitude. Sometimes a card, after coming 
up half way, begins to retire again, but at the command of the 
performer starts afresh, and rises completely out of the pack. 

These apparently surprising effects are produced by very 
simple means. In the first place the cards which rise from 
the pack are not those actually drawn, but duplicates of them, 
arranged beforehand. The performer ensures the correspond- 
ing cards being drawn by using a forcing pack, made up of 
repetitions of the cards in question, which we will suppose to 
be the queeu of spades, the tea of hearts, aad the seven of 



MODEEN MAGIC 



23 



diamonds, with some other single card at the bottom . The tin 
case, in the original form of the trick, has two compartments — 
the one to the front being large enough to hold a complete 
pack, but the hinder one ad- 
apted to contain six or eight 
cards only. In this hinder 
compartment are placed six 
cards, three ot them being 
those which are intended to 
rise, and the other three in- 
different cards. A black silk 
thread is fastened to the upper 
edge of the partition between 
the two compartments, and is 
thence brought under the fore- 
most card (which is, say the 
queen of spades), over the 
next (an indifferent card)under 
the fifth (the seven ot 
diamonds), over the sixth (an 
indifferent card), finally pass- 
ing out through a minuute 
hole at the bottom of the 
hinder compartments. If the 
thread is pulled, the three 
cards named will rise in suc- 
cession, beginning with the 
hindmost — viz., the seven of 
diamonds. The three indif- 
ferent cards are put in as par- 
titions, or fulcrums, for the 
thread to run over, if these par- 
titions were omitted, the three 
chosen cards would rise all 
together. 

The thread may be drawn in 
various ways. Sometimes this 
is done by the performer him- 
self, standing behind or be- 
side the table. Another plan 
is to have the thread attached 
to a small cylinderical weight 
within the pillar, which is 
made hollow, and filled with 
sand. The weight rests on 
the sand until the operator 
desires the cards to rise, when, by moving a trigger at the foot 
of the pillar, he opens a valve, which allows the sand to trickle 
slowly down into the cavity at the base ; and the weight, being 
thus deprived of its support, gradually sinks down, and pulls 




24 



MODERN MAGIC. 



the thread. (The pillar in this case is made about two feet 
high, as the weight must necessarily travel six times the 
length of card.) Others, again, draw the thread by means of 
clockwork arrangement in the table, or in the pillar itself, 
answering the same purpose as the sand and weights. The 
arrangement which v/e ourselves prefer, where practicable, is 
to have the thread drawn, by an assistant, who may even stand 
in fnll view of the audience, so long as he is at some little 
distance from the table. The silk thread is quite invisible, if 
only you have a tolerably dark background. The only portion 
as to which you need feel any anxiety is that immediately 
connected with the cards. To conceal this it is well, if you 
use a a special table, to have a small hole bored in the top, 
through which the thread may pass. The cord-stand being 
immediately in front of the hole, the thread will pass per- 
pendicularly downward for the first portion of its length, and 
will thus be concealed behind the pillar. In default of a hole, 
f, nij^' of bent wire attached to the table will answer the same 
purpose. The great advantage of having the thread pulled by 
a person instead of a mechanical power is, that you can take 
your own time in the performance of the trick; whereas, if you 
use a weight or clockwork, there is always a danger of a card 
beginning to rise before you have called for it, or possibly not 
rising at all — either contingency being rather embarrassing. 

In the latest and best form of the trick, the second compart- 
ment of the case is dispensed with, and the apparatus may be 
handed round for examination both before and after it is used. 
In this case three cards are forced and returned as already 
mentioned ; but the performer, as he reaches his table, adroitly 
exchanges the forcing pack for another already prepared, and 
placed on the servante if a regular conjuring-table is used, or, 
if not, concealed behind some object on the table. This 
pack is prepared as follows : — The last six cards are arranged 
with the thread traveling in and out between them, just as 
the six cards in the hinder compartment were in the older form 
of the trick. A knot is made in the silk thread, which is 
hitched into a notch an eight of an inch deep, made in the 
lower edge of the sixth card. The knot prevents the thread 
from slipping, but does not interfere with its been instantane- 
ously detatched when, the trick being over, you hand the 
whole apparatus, cards and all, to be examined. 

TO MAKE A CABD STAND UPRIGHT BY ITSELF ON THE TABLE. 

This is a little trick of hardly sufficient importance to be 
performed by itself ; but as an incident introduced in the 
course of some more pretentious illusion, produces a very 
good effect. A great deal of the sparkle of a conjuring en- 
tertainment depends upon the performer's readiness in what 



MODEBN MAGIC. 



25 



may be called "by-play," consisting of a number of minor 
tricks not supposed to form part of the settled programme, 
but merely introduced incidently, and used, as it were, as 
a garnish to the more important feats. Thus, when a coin, an 
egg, or other small article, is required for the purpose of a 
trick, the performer may fetch it openly from behind the 
scenes, or have it handed to him by his servant ; but this 
is commonplace proceeding. The higher class ot perform- 
ers prefer in such cases to produce the article from the hair, 
whiskers, or pocket of one of the audience ; and in like man- 
ner, when the artiele has served its purpose, to make it 
vanish by some magical process, rather than by the prosaic 
methods of every-day life. These little incidents serve to 
keep the audience on the qui vive, and they further assist 
materially in keeping up the continuity of an entertainment. In 
A thoroughly good performance the audience should have no 
time to think, but should be led direct from one surprise to 
the contemplation of another. 

The trick we are about to describe is of the class above 
alluded to. In the course of one or other of your card tricks, 
^ou have or make occasion to ask some person to go and place 
a given card on the table, or to examine a card already placed 
there. He does so, and is about to return to his place ; but 
you check him. "No, sir, that won't do, I want everybody 
to see what card it is. Will you be good enough to stand it up 
on end, with its face to the company, so that everybody can 
see it. ' ' He looks foolish, and finally says that he can't do it. 
" Not do it ?" you reply. " My dear sir, it's the simplest thing 
in the world. Allow me and taking the card from him, you 
place it right upon the table, and leave it standing without 
any visible support. Taking it up again, you hand it round, 
to show that there is no preparation about it, and on receiving 
it back, again stand it upright, but with the other end up- 
wards ; or, if challenged, allow the audience themselves to 
choose a card, which you cause to stand alone with equal 
facility. 

The secret lies in the use of a very small and simple piece of 
apparatus, being, in fact, merely a strip of tin or sheet brass, 
an inch and a half in length, and five eights of an inch in 
width, bent at a shade less than a right angle — say 85o ; its 
shorter arm being one-third of its length. On the outer sur- 
face of the long arm is spread a thin layer of bees'-wux (made 
more adhesive by the addition of a small portion of Venice 
turpentine;, and to the inner surface of the shorter arm is 
soldered a small piece of lead, about an eighth of an inch 
thick. "When you desire to perform the trick, you have this 
little appliance concealed in yonr right hand, the longer arm 
between the first and second fingers, and the shorter arm 



26 



MODEEN MAGIC. 



pointing towards the ..otle finger. Picking up the card with 
the left hand, you transfer it to the right, taking hold of it in 
such manner that the fingers shall be behind, the thumb in 
front of the card. 
As you place the 
card on the table 
(which, by the 
way, must be 
covered with a 
cloth) you press 
against it(see Fig) 
the waxed side of 
the Bilp of tin, 
which will slight- 
ly adhere to it, 
and thus form 
prop or foot, the* ' 
little lump of lead; 
acting as a count-' 
erpoise to the 
weight of the 
card, You pick 
it up with the 
same hand, and 
as you transfer it 
to the other, you 
will find no dif- 
ficulty in removing and secreting between the fingers the little 
prop. 

If the wax is properly amalgamated, it should leave no mark 
on the card. 




TO MXKE TWO MARKED COINS, WRAPPED IN SEPARATE ' HANDKER- 
CHIEFS, COME TOGETHER IN ONE OF THEM. 

Borrow a 25 cent piece, and a penny, requesting the owners 
to mark them that they may be sure of knowing them again. 
Also borrow two pocket-handkerchiefs. Palm in your rignt 
hand a penny of your own, and throw over the same hand one 
of the borrowed handkerchiefs. This will effectually conceal 
the substitute penny, which you now take between the finger 
and the thumb. Holding the handkerchief spread out upon 
the open hand, you take up with the left hand the marked 
penny and place it on the handkerchief, as if to wrap it there- 
in, but at the same time with the third finger push a fold of 
the handkerchief under the substitute penny in your right 
hand. You now invert the handkerchief over your left hand, 



MODERN MAGld. 



^or a mimite, allowing the marked penny to drop back into 
that hand, and at the same time twist the fold already mention- 
ed around the substitute. The audience see the shape of a 
coin wrapped up in the handkerchief, and naturally believe 
that it is that of the marked penny which you have apparently 
placed inside it. In realty it is that of your own penny, 
wrapped merely in an outside fold. You now hand the hand- 
kerchief to someone to hold, requesting him to grasp the coin, 
and hold tightly. 

The marked 
penny, it will 
be remember- 
ed, remains 
in your left 
hand, and 
marked on the 
tsble. As you 
go to take up 
the latter, you 
transfer the 
penny to your 
right hand, 
and palm it ; 
then pick up 
the quarter, 
holding it at 
the tips of 

the fingers, Spread the second handkerchief on the open 
palm of the left hand. Bring the quarter down smartly upon 
it, and by the game movement let the penny fall from the 
palm on to the handkerchief. The two coins will be lying 
(covered by the right hand) on the handkerchief, a couple of 
inches apart. Close the left hand on both coins, and turn the 
hand over, so that the edges of the handkerchief hang down. 
With the right hand grasp the handkerchief five or six inches 
below the coins. Take one of these through the handkerchief 
between the finger and thumb of the left hand, lettting the 
other tall loose inside the handkerchief, which you then invite 
some one to hold in like manner, but in a horizontal position. 
(/See Fig.) This position is adapted in order that the two 
coins may not, by accidental chink, prematurely disclose the 
fact that both are already in ;the handkerchief. 

You now announce that you are about to make both coins 
pass into one handkerchief. Advancing to the person who 
holds the first handkerchief, you request him, still maintain- 
ing his hold, to remove his htind four or five inches below the 
the coin, to give room to operate. First ehowing that your 




MODEKJI MAGIC. 



hand is empty, you gently rub the substitute penny through 
the handkerchief between your finger and the thumb, when, 
being only wrapped within the fold, it quickly falls into your 
hand. No one ever thinks of inquiring at this point whether 
it is the marked one or not. Taking it into the left hand, in 
position for Pass 4, you say to the person holding the second 
handkerchief "Having extracted this penny from the one 
handkerchief, I will now pass it into the other. I won't even 
touch the handkerchief, but will simply take the coin in my 



directed, when the two coins are heard to chink together, 
as though the second coin had just arrived in the handker- 
chief, and on examination they are, of course, found to be 
those marked. 

We may here describe another and still neater mode (the in- 
vention, we believe of M. Eobert Hudin) of apparently wrap- 
ping a coin securely in a handkerchief, though really only cov- 
ered by an outer fold. 

Holding the coin upright between the fingers and thumb of 
the left hand, throw the handkerchief fairly over it. Having 
shown that it is fairly covered remark, " But perhaps you may 
fancy I have changed the coin, Allow me to show you that I 
have not."' With the right hand, palm upwards, take the coin 
through the handkerchief. ( as shown in Fig.), between the 
first and second fingers of that hand. For a moment let go 
with the left hand (but without removing it from under the 
handkerchief ), Tura oyer the right hand towards yourself, 




hand, and say, 
* Pass ! ' Will you 
be good enough, 
at the word 'pass,' 
to let go of the 
coin you are hold- 
ing, but still keep 
hold of the hand- 
kerchief with the 
other hand.'' Ap- 
pearing, by Pass 
4, to take the pen- 
ny in the right 
hand, you open 
that hand with a 
quick motion to- 
wards the hand- 
kerchief, saying, 
"Pass!" The per- 
son holding the 
hand kerchief 
looses his hold, as 



MODERN MAGIC. 



^9 



and again seize the coin with the left hand : but this time nip 
the opposite edge of the coin to that which it first held, and 
through the double thickness of the handkerchief. Eemove 
the right hand from the coin, and with it raise the outer edge 
of the handkerchief and show the coin, as in the Fig. Then let 
the edges of the handkerchief fall. Apparently the coin is un- 
derneath and in the centre of the handkerchief ; but in reality 
it is outside, lying in a slight fold on the side away from the 
spectators. 

The above description sounds intricae, but, if carefully fol- 
lowed with the coin and handkerchief will be found perfectly 
simple in practice. It is worth while taking some pains to ac- 
quire this sleight as it is of great value in coin tricks. 

TO PULIi FOUR QUAKTEES OE HALF-DOLLAES THEOUGH A 
HANDKEECHIEF. 



You begin by borrowing four marked half dollars or quarters 
or penny-pieces, and a silk or cambric handkerchief. You then 




request the assistance of a very strong man. This gives an 
opportunity for a little fun in the selection. Having at last 
found a volunteer to your liking, you seat him on a chair 
facing the company, then spreading the handkerchief on 



30 



MOBEEN MAGIC. 



youf left palm, then immediately placing the foui* 
coins upon it , you close your hand upon them through 
the handkerchief, and hand them to him, requesting him 
to hold them firmly. Then, as if suddenly recollecting your- 
self,you say, "Pardon me, I have omitted one little detail 
■which is rather important. Oblige me with the handkerchief 
again for one moment, if yon please. I ought to have 
shown the company that there are no holes in it " (The 
last sentence should not be pronounced until you have 
gained possession of the handkerchief, as the company 
might possibly declare themselves satisfied of the facij 
without examination, which would not. answer your purpose.) 
The handkerchief being returned to you, you spread it out to 
show that it is free from the holes, coming among the audience 
to do so, and appearing to lay great stress upon the fact. 
Again spreading it over your left hand, you count the coins 
one by one upon it ; then giving a glance round at the com- 
pany, you say, as you quickly return to your platform, *'You 
have all seen that the four coins are fairly wrapped in the 
handkerchief " or make any other remark in order to draw the 
general attention, as a sharp, quick remark almost always will, 
to your face and away from your hands. At the same moment 
you move the left thumb over the face of the coins, tbeerby 
covering them with a fold of the handkerchief, ^and seize them, 
through the fold thus made, between the thumb and fingers 
of the right hand, as indicated in Fig., immediately with- 
drawing the left hand. The coins will now be held in the 
right hand, the handkerchief hanging down loosely around 
them, To any one who has not watched your movements 
with more than ordinary vigilance, it may appear that the 
coins are within and under the handkerchief, though they are, 
in reality, wrapped in an external fold. Giving them a twist 
round in the handkerchief, you hand it the person assisting 
you you, asking him to say whether :;he money is still there, 
to which he naturally applies in the affirmative. You then tell 
him to grasp the handkerchief with both hands three or four 
inches below the coins, and hold as tightly as he possibly. 
Placing your wand under your right arm, and taking hold of 
the coins (through the handkerchief) with both hands, the right 
hand undermost, you begin to pull against him, making a 
show of pulling with great force, and remarking that you are 
very glad it is not your handkerchief, that you should not 
have thought he was so strong, etc. Meanwhile, and while the 
company are enjoying the discomfiture of the owner of the 
handkerchief, you -jintwist the latter and secretly get the mon- 
ey out of the fold into your right hand, and palm it therein. 
Give one last pull with your left hand, and let go smartly, ob- 

serying that you fear you must give it up aa^ own yourself con- 



MODliKN MAGIC. 



^1 



quered. Take yonr wand in your right hand ;thi8 will make it 
appear natural for you to keep that hand closed, and will ma- 
tertally aid in concealing the fact that the money is therein. 
Your antagonist, or the spectators for him, will by this time 
have discovered that the money has vanished ; but you pretend 

to be unconscius of the 
fact, and request him to 
give it back, that you may 
return it to the owners. 
He naturally declares that 
he has not got it. With 
all the seriousness that 
yon can command, you 
insist that he has it, and 
that he must restore it. 
On his conliTiiied denial 
yon suggest that he should 
search his pockets, which 
you tap, one after another, 
with your wand, each 
giving a metallic sound as 
if containing money; but 
the coins are still not to 
be found. At last, after 
all his pockets have been 
tried in vain, yon, as if 
upon a sudden tliought, 
tap the leg of his trousers, the metallic clink still following 
every tap of the wand till you have nearly reached his feet, 
when you exclaim, Yes, there it is. Will you have the kind- 
ness to put your foot on that chair ?" He does so, and quickly 
transferring yonv wand to the left hand, with the lingers of the 
right you turn nip the edge of the trouser, giving at the same 
time, a slight shake, when the four coins are seen to fall out, 
to the great surprise of the victim. 

This effect is produced as follows : The coins being in your 
right hand, you introduca them with the second, third and 
fourth fingers under the edge of the trouser ; then, with the 
firsr finger and thumb which are left outside, you nip them 
through the cloth, and holding them an instant till you have 
withdrawn the remaining fingers, when with a slight shake you 
let them fall. 

The metallic chink on tapping the pockets may be produced 
in two ways. One method is to use a hollow metal wand, 
japanned to vaatch the one ordinarly used, and containing 
throughout its length a loose piece of thick wire, which, 
striking against the sides of the tube, exactly imitates the 
chink of money. The other mode is to use merely the or 




MODEBN magic; 



dinary wand, allowing the end which you hold to the chinfc- 
against the money held in the same hand. With a little prac- 
tice the effect is equally deceptive with the special wand. 

TO MAKE A MARKED DIME VANISH FROM A HANDKEECHIEF, AND 
BE FOUND IN THE CENTRE OF AN APPLE OE OEANGE 
PEEVIOUSIiT EXAMINED. 

Have ready, concealed in either hand, a dime of your own, 
with a little wax smeared on "one side of it. Roll another 
minute portion of wax into a round ball half the size of a pep- 
percorn, and press tightly upon the lowest button of your 
waistcoat, so that you may be able to find it instantly when 
wanted. You must also have at hand an ordinary full-sized 
table-knife and a plate of oranges. 
You begin by borrowing a dime (requesting the owner to 



mark it and a handkarchief. You spread the handkerchief 
flat on table, with its sides square with those of the table. 
Then standing behind your table, you place ostensibly the 
borrowed dime, but really your own (with the waxed side up), 
in the centre of the handkerchief, then fold over the corners, 
one by one, beginning with one of those nearest to yourself, in 
such manner that each shall overlap the dime by about an 
inch, gently passing each corner as you fold it down. ~ Ask 
some one to come forward, and ascertain by feeling the hand- 
kerchief, that the dime is really there. Then offer a knife for 
inspection, and after all are satisfied that it is without pre- 




MODEEN MAGIC. 



33 



paration, hand the plate of oranges to be examined in like 
manner, requesting the audience to choose one for the pur- 
pose of the trick. While tliey do so, your fingers go in 
search of the little ball of wax, and press it against one side 
of the marked dime, which still remains in your hand. 
Press the dime against one side of the blade of the knife, 
at about the middle of its length, and lay the knife on the 
table, the dime adhering to its under side. Then taking 
hold of the handkerchief, as represented in Fig., and blow- 
ing on its centre, draw the hands quickly apart. The two 
corners of the side next to you will then be brought one 
into each hand, and adhering to one of them (the one 
you first folded down), will be the substitute dime, which will 
thus appear to have vanished. Hand the handkerchief for 
examination, that it may be seen that the coin has really 
disappeared, and meanwhile get rid of the substitute into 
your pocket or elsewhere. Turn up your sleeves, and show 
that your hands are empty . Then take up the knife (taking 
care to keep the side on which the dime is away from the 
spectators), and cut open the orange. Cut about half way 
down with thepoint, and then finish the cut by drawing the 
whole length of the blade through the opening thus made. 

This will detach the dime, which will fall between the 
two halves of the orange, as though it had all along been con- 
tained therein, Wipe it with the handkerchief to remove 
the j nice of the orange from it, and at the same time rub off 
any wax which may still adhere to it, and hand it for identifi- 
cation. 

THE ANIMATED COIN, WHICH ANSWERS QUESTIONS, ETC. 

This trick is performed in a variety of different ways, some 
with apparatus, some without. The effect produced is as 
follows :— The performer borrows a coin, and, after making a 
few mesmeric passes over it, drops it into a glass upon the 
table where it immediately begins to jump about as if a live. 
The performer tlipn announces that the coin thus mesmerized 
has the power of forf-une-telling. naming chosen cards, pre- 
dicting the numVer thnt will be thrown by a pair of dice, etc. 
The coin answers "Yes" by jumping three times, "No" by 
jumping once— nccordiug to the approved spiritualistic code of 
signals. We shall not stay to discuss the questions asked, 
which are of the same class as those which are generally put to 
the Magic Bell or Drum, but proceed at once to explain the 
the various modes of producing the movement of the coin. 

One plan is for the performer to have a coin of his own, to 
which is attached a long black silk thread, the other end of 
which is in the hand of an assistant behind the scenes, or else- 



34 



MODEEN MAGIC. 



where out of sight of the audience. This coin is placed on the 
table in readiness, but concealed from the spectators by some 
larger object in front of it. "When the performer advances to 
the table with the borrowed coin, he secretly picks up the pre- 
pared one, and drops the latter into the glass as being that 
which he borrowed. A short, quick jerk of the the thread by 
the assistant will make the coin spring up and fall back 
again, producing the required chink. It is only necessary to 
be careful not to jerk the thread so violently as to make the 
coin fly out of the glass. It is desirable, where practicable, to 
make the thread pass either through a hole in the top of the 
table, or a ring fixed to its surface and placed immediately be- 
hind the glass. This will keep that portion of the thread 
nearest to the glass perpendicular behind it, in which position 
it will be completely hidden by the glass, and so be invisible. 

Some performers prefer to use the actual coin borrowed. The 
arrangements in this case are the same as above described, save 

that the silk thread, instead of 
having a substitute coin at- 
tached to it, has merely a. 
pellet of wax at its end. The 
performer having handed 
round the glass for inspection, 
and standing in front of the 
table with his left side turned 
towards the audience, picks 
up a pellet of wax with his 
right hand at the same mo- 
ment that, holding the bor- 
rowed coin in his left hand, 
he begs the spectators to take 
especial notice that he really 
uses the borrowed coin, and 
no other. Having said this, he 
transfers the coin, by a per- 
fectly natural movement, to 
his right hand, and pressing 
against the waxen pellet, drops 
it into the glass. 

The third and last mode of 
performing the trick is by 
means of a special glass, with 
hole drilled through its _ foot. 
This is placed on a suitable 
____ pedestal (see Fig.), in which 
works uu nnd down a steel needle, forming the upper portion 
of a kind of loose piston, a. The top of the pedestal^is covered 
with green baize, allowing ft-ee passag- 




te to the needle, which 



MODEKN MAGIC 



when pushed upward strikes the coin from below, with much 
the same effect as the thread pulling it from above. This 
pedestal is only available with one of the mechanical tables 
which will be described in connection with " stage tricks." 
Such tables contain, among other contrivances, what are called 
"pistons," being small metal .rods, which, by pulling a string, 
are made to rise vertically an inch or so above the surface of 
the table, sinking down again as soon as the cord is released. 
The pedestal is placed immediately above one of these, whose 
movement is in turn communicated to the loose piston in the 
pedestal, and thence to the coin. 
. It only remains to be stated how the necessary knowledge 
for the answers is communicated to the person who controls 
the movements of the piece. With respect to chosen cards, 
the cards are either indicated by the wording of the questions, 
or are agreed on beforehand, the performer taking care to 
" force" the right ones. The assistant is enabled to predict 
the throw of the dice by the simple expedient of using a small 
boxwood vase, in which there are two compartments, in one ef 
which a pair of dice (apparently the same which have just 
been dropped in haphazard from the top) have been arranged 
beforehand for the purpose of the trick. The ordinary fortune- 
telling questions, as to "Which young lady will be married 
lirst ? ' "Which spends most time at her looking-glass?" 
" Which has most sweethearts ?" and so on, are either answer- 
ed in accordance with the previous arrangement, or according 
to the fancy of the moinent. Of course, where a question ot 
this kind is asked, the performer takes care to follow up the 
question by designating a number of persons in succession, 
so that a mere " Yes" or " No" may be a sufficient answer. 

THE MIRACULOUS CASKET. 

This is a neat leather- or velvet- covered box, about three 
inches by two, and two and a half high. When opened, it 
is seen to be filled with a velvet cushion or stuffing, after 
the manner of a ring-case, with lour slits, each just large 
enough to admit a half-dollar or dime. (;SeeFig.) " By an in- 
genious mechanical arrangement in the interior, which it 
would take too much space to describe at length, each time 
the box is closed one of the coins is made to drop down into 
the lower part, and on the box being reopened is found to 
have been vanished. 

The casket may be used in many tricks with good effect. In 
combination with the magic glass, last above described, it is 
employed as follows : — The four coins which have been sub- 
stituted for the genuine ones are placed, in sight of all, in the 
magic casket, which is then closed, and handed to one of the 



36 



MODEKN MAGIC. 



audience to hold. The performer then states that he is about 
to order the four coins now in the casket to pass one by one 

into the glass upon the table. 
"One !" he exclaims. A coin 
is heard to fall into the glass. 
The person who holds the 
casket is requested to open 
it ; three coins only are left. 
It is again closed, and the 
performer says, "Two!" 
Again the chink of the falling 
coin is heard, and another 
coin is found to have disap- 
peared from the casket. The 
operation is repeated till all 
have vanished, and* the 
operator pours fourth from 
the glass four coins, which, 
on examination, are found to 
be the same which were originally borrowed, and which the 
audience believe that they saT^^ placed in the casket. 

The casket may also be used with capital effect in conjunc- 
tion with 

THE HAJLF DOLLAR WAND. 

This is a wand, apparently of ebony, but really of brass, 
japanned black. It is about twelve inches in length, and five- 
eighths of an inch in diameter. On one side of it, and so 
placed as to be just under the thumb when the wand is held in 
the hand, is a little stud, which moves backwards and forwards 
for a short distance (about an inch and a quarter), like the 
sliding ring of a pencil-case. When this stud is pressed for- 
ward, a half-dollar may be, appears on the opposite end of the 
wand (see Fig., retiring within it when the stud is again drawn 
back. The half-dollar is a genuine one, but is cut into three 
portions, as indicated in Fig,, which represents a transverse 
section of it at right angles to the actual cuts. Each of the 
three segments is attached to a piece of watch-spring, and 
from the direction of the cuts it is obvious that, when these 
pieces of watch-spring are pressed together (as they naturally 
are when drawn back into the wand), cwill be drawn behind, 
and a in front of &. (iSee Fig . ) 

The wand is used as follows : — The performer palms in his 
left hand as many half-dollars as he intends to produce. Then 
taking the wand in the right hand, and lightly touching with 
it the spot whence he desires to (apparently) produce a half- 
dollar, he pushes forward the stud, and the split coin appears 
on the opposite end of the wand. He now draws the upper 




MODEKN MAGIC. 37 

part of the wand through the left hand, at the same moment 
pressing back the stud, and causing the split coin to 
retire within the wand, immediately handing for examination 
with the left hand one of the half-dollars already placed 
there, and which by this gesture he appears to have just taken 
from the top of the wand. Tliis is again repeated, and another 
half-dollar exhibited, till the stock in the left hand is ex- 
hausted. 

It is desirable, on each occassion of pressing forward or with- 
drawing the stud, to place the opposite end of the wand in 
such a situation as to be a little shielded from the eyes of the 
spectators, so that they may not see the actual appearance or 
disapperance of the coin. A very slight "cover will be suf- 
ficient. The end of the wand 
may be placed within a per- 
son's open mouth (and with- 
drawn with the hat-dollar 
thereon), within a pocket, 
or the like. Where no such 
cover is available, a quick 
semi-circular sweep should 
be made with the wand as 
the coins are produ ced or 
withdrawn . 

"With the aid of this wand 
the passage of the four half- 
dollars from the casket to the 
glass, just described, be- 
comes still more effective. 
The four substitute half- 
dollars have been placed in 
the casket, and the latter closed, the performer announces that 
he will withdraw them visibly, one by one, and will then in- 
visibly pass them into the glass. Further, to prove that the 
trick is not performed by any mechanical or physical means, 
he will not even take the casket in his hand, but will withdraw 
the coins one by one with his wand, thence pass them direct 
iTito the glass. Touching the casket with the wand, he presses 
the stud, and shows the half-dollar on the end. Apparently 
taking off" the coin with his left hand, as before described (the 
liand, however, being in this case empty), he makes the motion 
of throwing the coin from the hand to the glass, saying, "Pass!" 
The sound of a failing coin is heard (as already explained), 
and he shows that his hand is empty, the same process being 
repeated as to the remaining coins. 




38 



MODERN MAGIC. 



THE SHOWEE OE MONEY. 

The magical plienomenon known under this name surpasses 
tlie philosopher's stone, in the pursuit of which so many of the 
wise men of old expended their lives and fortunes. The 
alchemist's secret aimed only by producing the raw material, 
bat the magician's quick eye and ready hand gather from space 
juoney ready coined. Unfortunately, the experiment is sub- 
ject to the same drawback as the more ancient process — viz,, 
tint each twenty shillings produced cost precisely twenty 
shillings, leaving hardly .sufficient profit to make this form of 
money-making renunierative as h commercial undertaking. 

The effect of the trick is as follows : - The perfoimer borrows 
a hat, which he holds in bis left hand. Turning up his sleeves, 
he announces that he requires a certain number, say ten, 
dimes or half-dollars. The spectators put their hands in their 
pockets with the idea of contributing to the supposed loan ; 
but the professor, anticipating their intentions, says, "No, 
thank yon ; I wont't trouble you this time. There seems to 
be a good deal of money about to-night; I think I will help 
myself. See, here is a half-dollars hanging to the gaselier. 
Here is another climbing up the wall. Here is another just 
settling on this lady's hair. Excuse me, sir, but you have a 
half-cdoUar in your whiskers. Permit me, madam ; you have 
just placed your foot on another," and so on. At each supposed 
new discovery the performer takes with his right hand from 
some place where there clearly was nothing an instant before, 
a, half-dollar, which he drops into the hat held in his left hand, 
finally turning over the hat, and pouring the coins from it, to 
show that there has been " no deception." 

The explanation is very simple, the trick being' merely a 
practical application of " palming," tliongh its effect depends 
on the manner and address of the operator even more than on 
his skill in sleight-of-hand. The performer provides himself 
beforehand with ten half-dollars. Of these he palms two in 
his right hand, and the remainder in his left. When he 
takes the hat, he holds it in the left hand, with, the fingers 
inside and the thumb outside, in which position it is com- 
paratively easy to the drop the coins one l.y one from the hand 
into the hat. When he pretends to see the first half-dollar 
floating in the air, he lets one of the coins in his right hand 
drop to his finger-tips, and, making a clutch at the air, pro- 
duces it as if just caught. This first coin he really does drop 
into the hat, taking care that all shall see clearly that he 
does so. He then goes through a similar process with the 
second ; but when the time comes to drop it into the hat, he 
merely pretends to do so, palming the coin quickly in the right 
hand, and at the same moment letting fall into the hat one of 



MODERN MAGIC. 



39 



the coins concealed in his left hand. The audience, hearing 
the sound, naturally believe it to be occasioned by the fall of 
the coin they have just seen. The process is repeated until the 
coins in the left hand are exhausted. Once more the perform- 
er appears to clutch a coin from space, and showing for the last 
time that which has all along been in his right hand, tosses 
into the air, and catches it visibly in the hat. Pouring out the 
coins on a tray, or into the lap of one of the company, he re- 
quests that they may be counted, when they are found to cor- 
respond with the number which he has apparently collected 
from the surrounding atmosphere. 

THE EGG AND THE HANDKEKCHIEF. 

For this capital feat, which is generally identified with the 
name of Colonel Stodare, the following are the requirements : 
•^A glass goblet, two small handkerchiefs (generally of plain 
crimson silk, and about sixteen inches square), a larger silk 
handkerchief — to which is attached, by a silk thread of about 
four inches in length, a blown egg-shell — and a hollow metal 
egg made of zinc, enamelled white, with an oval opening on 
one side of it measuring about an inch and a half by one 
inch, or a little more. 

The performer comes forward, having in his right hand 
the goblet and one of the red silk handkerchiefs. The larger 
Jsilk handkerchief is thrown with apparent carelessness over 
the other hand, and upon it rests the blown egg, so placed that 
the thread may be out of sight, while beneath the egg, conceal- 
ed in a fold of the handkerchief, lies the second red handker- 
chief, rolled up into a small compass as possible. The metal 
egg is, meanwiiile, placed in the left-hand secret pocket of the 
performer, who introduces the trick as follows : "I have here, 
ladies and gentlemen, a drinking-glass, a couple of silk hand- 
kerchiefs, and an egg, all, as you will perceive, of the most or- 
dinary description." He passes quickly in front of the audi- 
ence, as though tendering the articles for examination (taking 
care, however, to keep his right arm advanced towards the 
spectators, so that the glass and small silk handkerchief may 
bear the brunt of inspection), and finally places the glass and 
small handkerchief on a table or chair in full view. " Pray 
observe," he continues, "that not one of the articles is removed 
from your sight, even for one moment. Now, please follow 
me closely. I will pi ace the egg in the glass, and cover it over 
with this handkerchief." This he does by one movement, for 
as the egg is already lying on the handkerchief, a mere turn of 
the wrist places the egg in the glass, and at the same time 
lets fall the handkerchief over it ; and at the same time the 
smaller handkerchief, which was concealed in the larger, ig 



40 



MODEBN MAGIC. 



released, and falls into the rl^ss with the egg. "You have 
all seen me place the egg in the glass" (at the same time 
shaking the glass, to show by the sound that the egg is still 
there), " which I will not again touch, I shall now take this 
small handkerchief (the one which has remained on the 
table), "and standing as tar as possible away, I shall com- 
mand the handkerchief to dissolve and pass into the glass, 
and the egg which is now in the glass to come into my hands." 
So saying, he holds up the handkerchief, in such manner as 
to show indirectly that he has nothing in his hands. Taking 
a few steps, as though merely to get further from the glass, 
and holding the handkerchief hanging down between the 
finger and thumb of the right hand, he drops the other 
hand to his side, and secretely takes from his pocket the 
hollow egg, which he palms, keeping the opening outwards. 
He then, standing with his left side towards the spectators, 
joins his open hands 
as in Fig., the hand- 
kerchief han g i n g 
down between them, 
Eequesting the audi- 
ence to watch him 
narrowly, that they 
may be quite sure 
that there is no de- 
ception, he begins to 
wave his j o i ned 
hands slowly up and 
down, the second 
and third fingers of 
the right hand 
(which, it will be 
remembered, is 
away from the 
audience) mean- 
while gradually _ 
working the handkerchief into the hollow of the egg. He every 
now and then pauses, to show that the handkerchief is gradual- 
ly diminishing, and at last, when it is wholly worked into the 
egg; opens his hands, and shows the egg lying in his palm, 
taking care, of course, that the opening is undermost. To all 
appearance, the handkerchief has changed into an egg. "Here 
is the egg," he remarks ; "let ns see if the handkerchief also 
has obeyed my bidding." So saying, he lays the egg, still 
with the opening downwards, upon the table, and taking hold 
with the linger and thumb of the handkerchief which covers 
the glass, lifts it daintly up, carrying with it, concealed in its 




MODERN MAGIC. 



41 



folds, the egg-shell attached thereto, and leaving the duplicete 
red handkerchief lying in the glass . 

It may sometimes, though not very often, occur that one or 
other of the spectators, suspecting some pecaliarity about the 
egg, may ask to be permitted to examine it. This, of course, 
you cannot permit, while to refuse would destroy half the 
prestige of the illusion. Fortunately, there is a way out of the 
diflfl-culty which absolutely enhances the effect of the trick. 

" You would lika to see the egg," you reply ; " by all means. 
It is a special feature of my entertainment that all a'^iticles used 
therein will bear the strictest examination. Here is the egg. 
During these few words, you have taken up the sham egg with 
the fingers of your right hand, taking care, of course, to keep 
the opening away from the audience, and have thence ap- 
parently transferred It to your left, with which hand you offer 
it to the too curious spectator. It is hardly necessary to re- 
mark, that in the apparent transfer of the egg to the left hand, 
you have really palmed it in your right ; and as you extend 
the left hand to the spectator, you quietly drop it from the 
right into the pochette on that side. The inquirer holds out 
his hand to receive it. *' Pray examine it closely," you say, 
opening your empty hand over his own. " What ! you have 
not got it ? Ah, that is your fault ; you were not quick enough. 
I always find that this experiment makes the egg excessively 
volatile.' This unexpected denouement never fails to raise a 
laugh against the individual who sought to embarrass you, 
while the impromptu disappearance of the egg will be regarded 
by many as the most marvellous portion of the trick. The 
same expedient will be equally available to prevent the ex- 
amination, at an awkward moment, of other small articles. 

THE BIRDCAGES FROM THE HAT. 

Not content with cannon-balls, drums, and ladies' reticules, 
the public of the present day requires that birdcages and living 
birds should be produced from an empty hat. 

The birdcages used vary in their construction. Some are 
made to fit one within the other, and are lifted out by the solid 
and not the loose ends, which fall down of their own accord. 
Those in most general use, however, are about six inches in 
height, by five in breadth and depth. The bottom is made to 
slide upwards on the upright wires which form the sides. 
When it is desired to prepare the cage for use, a canary is first 
placed therein, and the bottom is then pushed up as far as it 
will go, the slides, which work on hinges being folded one by 
one upon the bottom, the cage finally assuming a flat shape. 
It is in this condition that the cages, generally three in num- 
ber, are introducecl iato the the hat, either from the sewante or 



42 



MODERN MAGIC. 



from inside the vest of the performer ; and in the act of lift- 
ing out (which is done by the wire loop at top), the sides 
and bottom falling down, the cage becomes full size. 



THE WELSH KABBIT. 



This is a tricls of a common character, and in the hands of a 
spirited performer is sure to be received with applause, par- 
ticularly by the younger members of the audience. Its effect 
is as follows : — The performer brings in one hand a saucepan, 
fancifully decorated, and in the other a plate, with bread, 
cheese, pepper, etc. With these ingredients he proposes to 
make a Welsh Babbit, and to give the audience, without extra 
charge, a lesson in cookery. Chopping the bread and cheese 
together in a burlesque fashion, and seasoning with pepper 
and salt to a degree which no palate short of a salamanders 
could possibly stand, he shovels all into the saucepan, and 
clasps the lid on. For a moment he is at a loss for a fire, but 
this difficulty is quickly conquered. Borrowing a gentleman's 
hat, and a lady's pocket-handkerchief, he requests permission 
to use them for the purpose of the experiment. This is readily 
accorded, but the respective owners look on with consternation 
when the performer proceeds to set fire to the handkerchief, 
and, dropping it 
still blazing into 
the hat, to cook 
the Welsh Babbit 
by moving the 
saucepan to and 
fro over the flames. 
Having done this 
for a minute or 
two, he extin- 
guishes the flames 
by lowering the 
saucepan for a 
moment into the 
hat. Then again 
removing it, and 
taking off the lid, 
he brings it for- 
ward to the com- 
pany, and ex- 
hibits, not the ex- 
pected Welsh Babbit, or " rare-bit," but a genuine live rabbit, 
every vestige of the cheese and other ingredients having dis- 
appeared. 

The secret of this ingenious trick lies mainly in the con- 




MODERN MAGIC. 43 

• 

stniction of the Baiicepan, which consists of four parts, desig- 
nated in the diagram by the letters a, &, c, and ; a is the lid, 
which has no speciality, save that the rim round it is rather 
deeper than nsual ; b is a shallow tray or lining, of the same 
depth as the lid, fitting easily within the top of the sauce- 
pan ; a, on the contrary, fits tightly withii\ h ; c the body 
of the saucepan, and has no speciality ; d is an outer sheet 
or covering, loosely fitting the lower part of the saucepan, 
and, like it, is japanned plain black, the upper part and lid 
being generally of an ornamental pattern. (For our part, 
we much prefer either plain black or polished tin throughout, 
as savouring less of mechanism or preparation.) The presence 
or absence of d does not alter the general apl^earance of the 
saucepan, and cannot, therefore, be detected by any one. It 
should be mentioned that d is so made, that between its bot- 
tom and the bottom of the saucepan is about half an inch in 
depth, and in this space, before the apparatus is brought for- 
ward, is placed a substitute handkerchief, sprinkled with a 
few drops of spirits of wine or eau de Cologne, to render it 
more inflammable ; within the saucepan is placed a small live 
rabbit, after which h is put in its place, and pressed down. 

The performer is now ready to begin the trick. He brings 
forward the saucepan, placing it on the table, he mixes the 
bread, cheese, etc., on a plate, and then pours all into the 
saucepan, where, of course, they fall fnto &. As 6 is compara- 
tively shallow, it is well to place the saucepan in some tolera- 
bly elevated situation so that the audience may not be able 
to see into it, or they may perceive that the, bi-f^ad, etc., do 
not fall to the bottom. The lid is next placed on the sauce- 
pan. The hat and handkerchief are borrowed, the latter, 
which is to serve as fuel, being dropped into the hat. The 
performer, as if bethinking himself of a possible difiicultj^ 
carelessly remarks, " We mustn't have the stove too small for 
the saucepan ;" and so saying, lifts the latter, and lowers it for 
a moment into the hat, as though testing their relative sizes. 
In that moment, however, he relaxes the pressure of his 
fingers on d, and so leaves it within the hat, fjlacing the sauce- 
pan on the table beside it. When he again takes out the 
(supposed) handkerchief, and sets light to it, it is, of course, 
the substitute that is actually bnrnt, the genuine handkerchief 
meanwhile remain hidden beneath d in the crown. The effect 
of the flames rising from the hat, in which the audience cannot 
suppose any preparation, isvery startling, and yet, unless the 
substitute hankkerchief is unusually large, or the spirit has 
been applied with a too liberal hand, there is no real danger 
of injuring the hat. The performer moves abou the saucepan 
above the blaze at such a distance as not to inconveniencea ths 
animal within, after a moment or two, brings the saucepan 



44 



MODEKN MAGIC. 



sharply down into the hat, for the ostensible purpose of ex- 
tinguishing the fiames, but in again lifting it out he brings 
with it d, and places all together on the table. Nothing is now 
left in the hat but the borrowed handkeschief, which may be 
restored in any manner which the performer's fancy may 
suggest. When the lid of the saucepan is removed, as it fits 
more tightly within h than the latter fits within the saucepan, 
it naturally carries b with it, thus causing the disappearance 
of the bread, cheese, etc., and revealing in its place the live 
rabbit. 

Some fun may be c.ieated by selecting beforehand an assist- 
ant from the juvenile portion of the audience, and dressing 
him up with a pocket-handkerchief round his head, and an- 
other by way of apron, to act as assistant cook. 

A small kitten may be substituted for the rabbit, the per- 
former accounting for the wrong animal being produced by 
supposing that he must have made some mistake in mixing 
the ingredients. 

J,HE WTZABD's OMLET. ( BORROWED RINGS AND LIVE DOVES PRO- 
DUCED FROM AN omelet). 

This is a trick which alwaj'^s produces a great sensation, 
whether performed upon the stage or in the drawing-room. Its 
effect is as follows : The performer produces either naturally 
or magically ( from the egg bag or the mouth of his assistant, ) 



MODERN MAGIC. 



45 



three eggs which he hands round for inspection. His assistant 
next borrows from the audience three ladie's rings, receiving 
them, in order to prove that he does not tamper with them in 
any way, on the performer's wand instead of in his hands. 
The wand with the rings still upon it, is laid upon the table. 
The assistant, next brings in an omelet pan, and places it with 
its lid beside it, on the table. The performer breaks the eggs 
into it dropping in shells and all — then pours some spirits over 
it, to which he sets fire, and while it is still blazing drops the 
rings from the wand into it. He brings it forM^ard to show 
that the rings are really in the flames ; and on returning to his 
table claps the cover on the pan, and fires a pistol (any ordina- 
ry pistol) over it. Without a moment's interval, he again re- 
moves the cover. All traces of the omelet and egg. shells have 
vanished, but in their -place are found three live doves, each 
with a ribbon round its neck, to which is attached one of the 
borrowed rings. 

The explanation of this surprising result is simplicity itself. 
The reader with his present knowledge, will readilj'- conjecture 
that, as to the rings a substitute is effected ; but he may not so 
easily guess the manner of such substitution. It will be re- 
membered that the rings were collected on the performer's 
wand, by the assistant. This arrangement, which is ostensibly 
adopted to prevent, in reality facilitates an exchange. The as- 
sistant makes his collection with three dummy rings placed 
beforehand on the lower end of the wand, and concealed by 
the hand in which he holds it, which we will suppose to be the 
right hand. In returning to the stage, he takes hold with the 
left hand of the opposite end of the wand, and allows the bor- 
rowed rings to run down into that hand, at the same moment 
releasing the dummy rings from the right hand, and allowing 
them to run upon the middle of the wand in place of the others, 
He now has the borrowed rings in his left hand, and ( laying 
the wand with the substitutes on the table ) carries them off 
with him to prepare for the denouement of the trick. 

The only other matter which will require explanation is the 
omelet pan. This is a shallow pan of brass or tin, about ten 
inches in diameter, by two and a half in debth. Within this 
is an inner pan, also of brass or tin, fitting tightly within it, 
but about half an inch less in debth. The lid is made with a 
very deep rim or shoulder all round, and jnst fits within the 
lining, though less tightly than the latter fits within the pan. 
(See Fig, in which a represents the pan, h the lining, and cthe 
lid.) The assistant as soon as he gets behind the scenes, loops 
the borrowed rings to the ribbons, which are already tied 
round the neck of the three doves, and places the latter in h, 
immediately putting on c (the two together having the ap- 



46 



MODEEN MAGIC. 



pearance of a simple cover), and brings forward the pan and 
cover. The perfornier now makes his omelet, and drops the 
substitute rings into it. It bringing forward the pan to show 
that the rings are really there, he takes care to avoid the 
owners of them, who would alone be likelj^ to detect the sub- 
stitution. When he claps on the cover, the trick is really 
done, the firing of the pistol being merely for effect. When 
the cover is again removed, the lining remains in the pan, con- 
cealing the omelet beneath it, and revealing the doves, with 
the rings attached to their necks. 

THE EOSE IN THE GLASS VASE. 

The ingenious piece of apparatus which we are about to de- 
scribe was, we believe, the invention of Eobert Houdin. It 
consists of a glass vase, on a foot, and with a glass lid, standing 

altogether eight to ten 
inches in height. This 
is placed on a square 
boxlike plinth or pedest- 
al, of wood covered with 
morocco, and measuring 
about eight inches 
square by six in height. 
The lid is placed upon 
the vase, which, being 
transparent, is clearly 
seen to be empty. A 
borrowed handkerchief 
is for a moment thrown 
over the whole, and 
again removed, when a 
handsome rose (natural 
or artificial) is seen to 
have mysteriously found 
its way into the vase ; 
whence it is removed, 
and handed to the com- 
pany for inspection. 
' The secret of this mys- 

terious appearance is two- 

— - =-:^f:nr — fold, lying partly in the 

vase and partly in the pedestal. The vase, which at a little 
distance appears as simple and commonplace as any in a 
confectioner's window, has a segment cut off one side, leav- 
ing an opening of about five inches in height by three and 
a half in width. {See Fig.) This opening is kept turned 
away from the audience. The pedestal, like the vase, is 




MODEBN MAGIC. 



47 



closed on every side side except the side remote from the 
spectators, which is open. A curved wire arm, with a " clip" 
at the end to receive the stalk of the rose, works np and down, 
describing a quarter circle, in this open space. A spring hinge, 
on which this arm works, impels it to assume the position 
shown in the figure, thus lifting the rose through the open- 
ing into the vase. The apparatus is set by forcing down the 
arm with the rose into the position indicated by the dotted 
lines, in v/hich position it is retained by a little catch, until 
the performer, in the act of covering the vase with the 
handkerchief, presses a stnd at the upper side of the pedes- 
tal. This withdrews the catch, and allows the rose to rise 
into the vase. Of course, the performer in taking out the 
flower does so from the top, and with proper precautions not 
to disclose the existence of the opening at the back of the 
vase. 

The ingenuity of the reader will probably suggest to him 
combinations to make the trick more effective. To those who 
have have not such ready invention, we may remark that the 
trick may be very-effectively combined with that of the ball 
that changes to a rose, and vice versa, or duplicate rose may be 
placed in the mouchoir du diaUe, and thence ordered to pass to 
to the vase. 

THE CHINESE KINGS. 

— These are rings of brass or steel, in diameter from five to 
nine inches, and in thickness varying from a quarter to three- 
eighths of an inch. The effect of the trick to the spectator is 
as follows : — The rings are given for examination, and found 
to be solid and separate ; but at the will of the operator they 
are linked together in chains of two, three, or more, becoming 
connected and disconnected in a moment, and being continn- 
ally offered for examination. Finally, after the rings have be- 
come involved in an apparently inxetricable mass, a slight 
shake suffices to disentangle them, and to cause them to fall 
singly upon the stage. 

The sets of rings sold at the conjuring depots vary in num- 
ber, varying from six to twelve. The set of eight, which is 
perhaps the most usual number, consists of one "key" ring, 
two single rings, and a set of two linked together, and a set 
of three linked together. The " key ring, in which lies the 
secret of the trick, is simply a ring with a cut or opening in it. 
For use upon a public stage, where the performer is at a con- 
siderable distance from his audience, there may be a gap of an 
ei'fhtli of an inch between the ends, but for drawin'g-room use, 
tbey should just touch each other. Some rings are made to 
"(•lip" like an ear-ring, and some have the opening cut dia- 



48 



MODERN MAGIC. 



gonally instead of square, but the simple square cut is, in our 
own opinion, the best. 

We shall, in the first place, describe the trick as performed 
with the set of eight rings above mentioned. We must premise, 
however, that the manipulation of the rings admits of almost 
infinite variation, and that the practice of performers differs 
greatly as to the mode of working them. 

The performer comes forward holding the eight rings in his 
left hand, arranged as follows :— First (i. e., innermost), comes 
the set of three ; then the " key" ring (the opening uppermost 
in the hand), then the set of two ; and lastly, the two single 
rings. Taking the first of these, he hands it to a spectator 
for examination ; passing it when returned to another person, 
and carelessly handing a second ring to be examined in like 
manner. This should be done without any appearance of haste 
and with an air of being perfectly indifferent as to how many 
of the rings are examined. The two "singles" having been 
duly inspected, the performer reqiiest some of the spectators 
to take them both in his right hand, at the same time taking 
in his own right hand the next two rings, which, it will be re- 
membered, are the set of two, though the audience naturally 
believe them to be, like the first, separate. 

"Now, sir," the professor continues, "will you be good 
enough to link one of the rings which you hold into the other." 
The person addressed looks more or less foolish, and finally 
" gives it up." '-You can't?" says the performer, in pretend- 
ed surprise. "My dear sir, nothing is easier. You have only 
to do as I do. See !" Laying down the rest of the rings, he 
holds two and makes a gentle rubbing motion with the thumb 
upon the rings, and then lets fall one of them, which naturally 
drops on the other. He now hands these two rings for exami- 
nation. The spectators seek for some joint or opening, but 
none is found ; and meanwhile the performer transfers the 
the next ring (the "key' to his right hand, keeping the open- 
ing under the thumb. He now takes back with the left hand 
the two single rings, immediately transferring one of them to 
the right hand, and with the ball of the thumb presses it 
through the opening in the key ring, into which it falls, with 
exactly the same effect as the apparent joining of the two 
linked rings a moment before. Again he separates and again 
joins the two rings. The second single ring is now made to 
pass in like manner. 

The performer remarks, ' We now have three joined to- 
gether. Here are three more, as you see (shaking those in 
the left hand), all solid and separate, and yet at my will 
they will join like the others." Making a rubbing motion 
with the thumb as before, he drops two of the three, one 
by one, from the band, whea they will appear as a chain 



M0t>i:BN MAGIC. 



4^ 



of three. These he hands for examination, taking back the 
set of two, and linking them one after the other into the 
key ring, to which now four rings are attacked. Again 
taking back the set of three, he links these also one by one 
into the key ring, which thus has seven rings inserted in it. 
Using both hands, but always keeping the opening of the 
key ring under one or the other thumb, he now takes off 
these seven rings, commencing with the two single ones and 
offering them for examination ; then taking off the set of 
two. Last of all, he unlinks the set of three, and then, 
holding them at length in his left hand, joins the upper 
one to the key ring, thus making a chain of four, of which the 
key ring is the uppermost. He next takes the lowermost ring 
of the four, and links that into the key ring, bringing the four 
rings into a diamond shape. Again unlinking the lower riug, 
he takes up the set of two, and connects them with the key 
ring, holding them up above it, thus making a chain of six, the 
key ring being third from the top. Taking the upper riug be- 
tween his tenth, he links the two single rings into the key ring 
on either side, making the figure of a cross As the hands are 
now occupied in holding the single rings forming the arms of 
the cross, he can no long.er keep the opening of the key ring 
concealed by the thumb, but it is extremely unlikely that 
among so many rings, so slight a mark in one of them will at- 
tract notice. Regaining possession of the key ring, he links 
one by one into it. Then, holding the key ring with both 
hands, and with the opening downwards, about a couple of 
feet from the floor, he shakes the rings violently, at the same 
time gently straining open the key ring, when the seven rings 
will all in succession drop through the slit, and scatter them- 
selves about the floor, the general impression being that they 
all fell separate, though the grouped sets, of course, remain 
still united. 

It is not an uncommon thing to see a performer commit the 
gaucherie of handling all the riugs, save only the key ring, to 
be examined in the first instance ; the key ring being hidden 
under the breast or under the tail of the coat, and being added 
to the set in returning to the table. The spectators are thus 
needlessly made acquainted with the fact that certain of the 
rings are already linked together, and this once admitted, the 
trick looses nine-tenths of its effect, 

THE BIRTH OP FLOWERS. 

There are two or three different tricks which go by this 
name. Of one of them we may disi)ose in a very few words. 
It is purely a mechanical trick, having neither ingenuity of 
construction nor dexterity of manipulation to recommend it. 



50 



MOi)EKH MAGIO. 



The apparatus consists of a cover a (see Fig., a base c, and aii 
intermediate portion 6, connected with a by means of a bay- 
onet-catch ; c is beforehand partially filled with earth, and in 
b, the top of which is perforated with small holes, is inserted a 
natural or artificial plant, or bouquet of flowers. The cover a 
placed over h, and the apparatus is ready. The performer, 
drawing attention to c, pretends to sow some magic seed there- 
in. He then places a over it, aud pretending to warm it with 
his hands, commands the seeds to germinate. Keleasing the 
bayonet-catch, he removes the cover, and shows the flowers ap- 
parently just springing from the earth in e. In some of the 
smaller sizes of this apparatus the bayonet-catch is dispensed 
with, the mere pressore of the fingers on the sides of a being 
suf&cieut to lift ofi" b with it. 

The trick which we are now about to describe under the 
same title is one of a composite nature, and one which, proceed- 
ing from marvel to marvel, produces in good hands a great 
efi'ect. It is divided into two portions — first, the production 
of a single flower, then of a handsome bouquet. The perform- 
er comes forward with his waad in one hand, and in ' the other 




a Itttle box, in reality quite empty, but containing, as he as- 
serts, magic seeds, capable of producing on the instant the 
choicest flowers. " I will first show you, ladies and gentle- 
men, their effect in the simplest form. 

In the hurry of coming here this evening, I omitted to pro- 
vide a flower for JOy buttoa-hole, You will see how easily, 



MODERN MAGIC. 



51 



by the aid of the magic seed, I can supply the deficiency. 
What shall it be ? Clematis, rose, geranium ? Suppose we 
say a rose. I take a single seed from my box ah, here is a 
rose-seed— and place it in my button-hole." (He applies the 
supposed seed to the button-hole. ) " I breathe on to supply 
the necessary warmth. I wave my wand — Once ! twice ! thrice ! 
The seed has blossomed, you see, into a handsome rose." 

The explanation of this pretty little trick is exceedingly 
simple. The preliminary preparation is made as follows : — 
Through the centre of an artificial rose, with stalk, a short 
piece (about ten inches) of thin black elastic is passed, and 
secured by a knot on the inside of the flower. The other 
end is passed through the button-hole (from the top out- 
side), and thence through an eyelet-hole made for the pur- 
pose in the breast of the coat, immediately under the button- 
hole. The extreme end is loo})ed over a button sewn on 
the waistcoat about the region of the waistband. The ten- 
ison of the elastic naturally draws the flower close against 
the button-hole, while yet allowing it, when necessary, to be 
drawn away from it to a distance of several inches. The 
])erl'ormer, before coming forward to perform the trick, 
draws the rose away from the button-hole, and places it 
under the left armpit, whence, so long as the arm is kept close 
to the side, it cannot escape. "When he waves his wand, with 
the words, "Once, twice, thrice !" he makes the first motion 
facing to the right, the second fronting the audience, and the 
third facing slightly to the left, at the same time striking the 
bntton-hole with the w.md, and throwing up the left arm, 
when the flower, released, instantly springs to the button-hole, 
the slight turn to the left completely covering the manner of 
its appearance. 

But the trick is not yet over. You will naturally say, ' Ah? 
the magic seed may be all very well for a single flower, but 
what if you wanted a complete bouquet?' I hasten to show 
you that this is equally within my power. Will some one 
oblige me with the loan of a hat by way of hothouse ? Thank 
you. Here, you observe, is an ordinary drinking-glass" (this 
has, meanwhile, been placed on the table by an assistant), "in 
which I will drop, hsphazard, a pinch of the magic seed." 
This he does with the left hand, the right being occupied with 
the hat^ and then, with the glass in the left hand and the hat in 
the right, comes forward to the audience, requesting a lady 
spectator to breathe upon the glass, which he immediately 
afterwards covers with the hat. He now requests the same or 
another spectator to count ten, to allow the mesmeric influence 
time to operate, and then, removing the hat, shows a hand- 
some bouquet (natural or artificial) in the glass. Keturning 
the hat, and handing the glass and flowers for inspection, he 



52 



MODERN MAGld. 



borrows a silk pocket-handkerchief, or, in default of prociirihg 
one from the audience, uses one of his own, brought forward 
by the assistant. Drawing it ropewise through his hand to 
show that it is empty, he spreads it before him, holding it by 
two of its corners. Having exhibited one side of it, he spreads 
the other, when the shape of something solid is seen to define 
itself beneath it, and the hanndkercliief being removed, a large 
round basket of flowers (see Fig. ), ten or more inches in diam- 
eter by two deep, is revealed. 

The reader, with his present knowledge, will probably have 
already conjectured the mode in which the bouquet is brought 
into the glass. It is beforehand placed at the left hand corner 
of the servante, the stem slanting upwards at an angle of about 
45**. When the performer, standing at the left hand side of 
the table, drops the imaginary seed into the glass with his left 
hand, his right, holding the hat, drops for a moment to the 
the level of the table, and clips between the second and third 
fingers the stem of the bouquet, when, by simply bending the 
fingers, the bouquet is brought into the hat after the manner 
of a cannon-ball. When the hat is placed over the glass, the 
bouquet is naturally brouught into the latter. 

We may here mention that there are bouquets of special and 
rather ingenious construction, enabling the performer, in the 
act of producing the bouquet from a hat in the above or any 
similar trick, to cause it suddenly to expand to three or four 
times its original size. The bouquet is in this case is made of 
artificial flowers, stitched on a framework forming a kind of 
miniatare parasol, with a very short handle. The bouquet, 
when introduced inty the hat, has a slightly conical shape, but 
the performer in withdrawing it puts up the parasol, so to 
speak,- thereby spreading it to twelve or fourteen inches 
diameter. 

THE TLTING GLASS OF WATER. 

This capital trick was, we believe, first introduced to the 
public by Colonel Stodare, to whom the profession is in- 
debted for many first-class illusions. The necessary apparatus 
consists of a couple of ordinary glass tumblers, exactly alike, 
with an india-rubber cover just fitting the mouth of one of 
them, and a colored handkerchief of silk or cotton made 
double (L e., consisting of two similar handkerchiefs sewn to- 
gether at the edges), with a wire ring (of the size of the rim of 
one of the tumblers, or a fraction larger) stitched loosely be- 
tween them, in such a manner that when the handkerchief is 
spread out the ring shall be in the middle. 

The performer, beforehand, nearly fills one of the tumblers 
with water, and then puts on the india-rubber cover, which, 



Modern magic. 

fitting closely all round the edge, effectually prevents the 
water escaping. The glass, thus prepared, he places in the 
profionde on his right side. He then brings forward the other 
glass and a decanter of water, and the prepared handkerchief, 
and in full view of the audience fills the glass with water up 
to the same height as he has already filled the one in his 
pocket, and hands round glass and water for inspection. When 
they are returned, he places the glass upon the table, a few 
inches from its hinder edge, and standing behind it, covers it 
With the handkerchief, first spreading out and showing both 
sides ot the latter, proving, to all appearance, that there is no 
preparation about it. In placing 'the handkerchief over the 
glass, he draws it across in such a manner as to bring the hid- 
den ring as exactly as possible over the top of the glass. Then 
placing the left hand over the handkerchief, he raises ap- 
parently, the glass 'within the handkerchief, but really the 
empty handkerchief only, which is kept distended by the ring, 
and, at the same time, under cover of the handkerchief, gently 
lowers the glass of water with the other hand onto the servants 
This is by no means difficult, as the pretended carefulness of 
the operator not to spill the water allows him to make the up- 
ward movement of the left hand as deliberate as he pleases. 
All that is really necessary is to take care to follow with his &yeS 
the movement of the Uft hand, which will infallibly draw the eyes 
and minds of the audience in the same direction. Having 
raised the supposed tumbler a height of about two feet from 
the table, the performer brings forward to the audience, and 
requests that some gentleman with a steady hand will favor 
him with his assist-ence. A volunteer having been found, and 
having given satisfactory replies as to the steadiness of his 
nerves, and the strenth of his constitution generally, is re- 
quested to place his hand under the handkerchief and take the 
glass. As he proceeds to obey, the performer lets go of the 
handkerchief with the left hand, still retaining one corner with 
the right, and lets the right arm with the handkerchief drop 
to his side. Pretending to believe that the gentleman has 
taken the glass, and not to notice its disappearance, he turns 
carelessly aside, and brings forward a small table or chair, 
saying, " Put it here, please." Looking, generally, somewhat 
foolish, the victim replies that he has not got it. If the per- 
former is a good actor, he may here make some fun by pre- 
tending to belief that the victim has concealed the glass, 
and pressing him to return it. At last ha says, "Well, if 
you wont give it to me, I must find it for myself," and he 
proceeds to tap with his wand the sleeves and pockets of the 
individual, but without success, till, on touching him between 
the shoulders, he pretends to tell by the sound that the glass 
is there. "Yes, here it is," he remarks, ♦« I am sorry to be 



hi t>ABLOU AND STAGfil MAQid. 



obliged to a(5k you to turn j'our back on the company, but i6 
show them that there no deception on my part, I am com- 
pelled to do so. Will you please turn round for one minute." 
On his doing- so, the performer, again shaking out the hand- 
kerchief, and showing both sides of it to prove it empty, 
spreads it over the back of the victim. Again he taps with his 
wand, which, striking the ring through the handkerchief, 
causes an unmistakeable hard sound to be heard ; and then 
grasping the ring as before through the handkerchief, he de- 
liberately raises it up in a horizontal position, the efifect being 
as if the glass had again returned to the handkerchief. He 
then says, " I don't think I will trouble this gentleman again ; 
he is too much a conjuror himself ; then turning rapidly to 
audience, he says, "Catch, ladies and gentlemen, "and "flicks" 
the handkerchief quickly towards the spectators, who duck 
heads in expectation of a shower. "Pardon me, ladies, I fear 
I alarmed you ; but yon need not have been afraid ; I never 
miss my aim. That gentleman has the glass" (designating any 
one he pleases). " May I trouble you to step forward one 
moment, sir? ' On the person indicated doing so, the perfor- 
mer places him facing the audience, and under cover of his 
body takes the second glass out of the profonde, and throws the 
handkerchief over it, remarking, "Yes, ladies and gentlemen, 
here it is, in this gentleman's tail pocket," Then taking hold 
of the glass with the left hand beneath the handkerchief, he 
clips with the first finger and thumb, through the handker- 
chief, the edge of the india-ruber cover, and thus drawing off 
the cover inside the handkerchief, hands round the glass and 
water for inspection. 

THE EABBIT TEICK. 

The performer comes forward to the audience, and borrows a 
hat. He asks whether it is empty, and is answered that it is ; 
but he, notwithstanding, finds something in it, which the 
owner is requested to take out. The article in question proves 
to be an egg. No sooner has this been removed, than the per- 
former discovers that there is something in the hat, and im- 
mediately produces therefrom a live rabbit, quickly followed 
by a second. Not knowing what other use to make of these, 
he proposes to pass one of them into the other. The audience 
decide which is to be the victim, and the performer, placing 
them side by side on the table, proceeds to roll them together, 
when one is found to have vanished, nobody knows when or 
how; but the theory is that it has been swallowed by the remain- 
ing rabbit, to the (imaginary) increased fatness of which th« 
performer draws special attention. 

Having thus passed one rabbit into the other, the next st«p 



PkUtOU AND ^TAGie MAGIC iB 



is to get it out again. To do this the performer calls for some 
bran, and his assistant immediately brings forward, and places 
on a table or chair, a huge glass goblet, twelve inches or there- 
abouts in height, filled to the brim with the commodity. The 
performer takes the borrowed hat, and (after showing that it is 
empty) places it mouth upwards upon another table, so as to 
be at some considerable distance from the goblet of bran. He 
then places a bitass cover over the glass, first, however, taking 
up and scattering a handful of the bran to prove its genuine- 
ness. Taking the surviving rabbit, and holding it by the ears 
above the covered goblet, he orders the one swallowed to pass 
from it into the glass, at the same time stroking if down with 
the disengaged hand, as though to facilitate the process. He 
remarks, " You must excuse the comparative slowness of the 
operation, ladies and gentlemen, but t«he fact is, the second 
rabbit passes downward in an impalpable powder, and, if I 
were not to take sufficient time, we might find that a leg or an 
ear had been omitted in the process, and the restored rab- 
bit would- be a cripple for life. I think we are pretty safe 
by this time, however. Thank you, Bunny ; I need not 
trouble you any more." So saying, ke releases the visible 
rabbit, and taking off the cover the bran is found to have dis- 
appeared, and the missing rabbit to have taken the place in 
the goblet ; while on turning over the borrowed hat the 
vanished bran pours fx-om it. 

The reader who has duly followed our descriptions of the 
appliances employed in the magic art will have little difficulty 
in solving the riddle of this trick. The performer first comes 
forward with an egg palmed in one hand^ and with a small 
rabbit in an inner breast-pocket on each side of his coat. The 
first step is the pretended finding of sometMng (it is not stated 
what) in the hat. The owner is requested to take it out. ajid 
while all eyes are naturally turned to see what the article may 
prove to be, the performer, without apparent intention, press- 
es the mouth of the hat with both hands to his breast, and tilts 
one of the rabbits into it. This is next produced, and in 
placing it on the ground at his feet, the performer brings the 
the second rabbit in the same manner into the hat. When he 
undertakes to pass the one rabbit into the other, he x^laces 
both upon the table which contains the rabbit-trap, and, stand- 
ing sideways to the audience, pushes the hindmost, under 
cover of the other, through the trap. This particular rabbit is 
not again produced, the rabbit in the "bran glasss," being 
another as much like it as possible. Ir, only remains to ex- 
plain how the bran comes into the borrowed hat. This is 
effected by having a black alapaca bag filled with bran in one 
of the profondes or under the waistcoat of the performer. Then 
SL bag is introduced into the hat after the manner of the goblet 



PAKLOE AND STAGE MAGIC. 



and the bran having been allowed to run out, the bag is rolled 
up in the palm, and so removed, the bran remaining, to be 
produced in due course. 



THE FAIRY STAR. 



This is one of the most telling of stage card tricks. The 
performer, coming forward with a pack of cards, allows six to 
be chosen. His assistant meanwhile brings forward and places 
on a table a handsome gilt "star" on the stand. The perfor- 
mer, collecting the chosen cards, places them in his pistol, 
and fires them at the star, when, at the moment of the explo- 
sion, they are seen to attach themselves one to each of Its points 
as in Fig. 

The principal point 
to be explained is the 
construction of the 
star. Behind each 
*'ray" is a moveable 
aim, working on a 
spring hinge at about 
two inches distance 
from the point, and 
carrying a spring clip 
at its other end, where- 
in to insert a card. 
(See Fig. representing 
a back view of the 
apparatus.) A card 
being placed 'in each 
of the clips, the six 
arm, with the cards 
attached to them, are 
folded down one by 
one behind the centre 
of the star, which is 
just large enough to 
conceal them. Each 
card, as folded, holds 
down the one which 
has preceded it. When 
the last card is folded 
down, the free end of 
a moveable button or 
lever at the top of the 
pillar on which the 
star rests is so turned 
as to press upon the arm which holds the card List folded, and 
thus to keep it and tlie live other cards preceding it in place. 




PARLOU AND STAGE MAGIU 



57 



This button, however, is so arranged as to be instantly with- 
drawn upon an upward movement being communicated to a 
wire rod which passes up the centre of the pillar, and term- 
inates in a flat disc of metal at its foot. The apparatus, thus 
prepared, is placed immediately over one of the pistons of 
the table. At the moment of firing the pistol the cord of the 
piston is pulled. The piston rises, pressing up the disc and 
wire rod, the buttom is withdrawn, and the arms, being there- 
by released, revert to their natural position, exhibiting a card 
upon each point of the star. 

Others, again, use what are called "longs and shorts" — i. e., 
two packs of cards, one of which has had a small 
portion shaved off its 
length or breadth. The 
performer offers the uncut 
pack for the company to 
withdraw*from, letting each 
person retain his card, and 
then secretly exchanging 
the pack for the shortened 
pack, he requests each of 
the drawers (singly) to re- 
place his card, and to shuf- 
fle freely. The substituted 
pack being a shade smaller 
than the returned card, the 
latter becomes a "long" 
card ; and therefore, how- 
ever well the cards are 
shufiSed, the performer is 
able, with absolute certain- 
ty, to cut at that particular 
card. " Here is your card," 
he remarks, " the knave of 
diamonds.' As he names 
the card, the assistant, be- 
hind the scenes, takes the 
cue, and attaches a cor- 
rpsponding card to the 
star. The card named is 
removed from the pack and 
laid Tipon the table, in 
order to be subsequently 
placed in the pistol, and 
a second drawn card is 
returned and shuffled with the like result. 

The star may, in the absence of a mechanical table, be placed 
on the hand, the disc being pushed up by the fingers. Some 




58 



PAELOK AND STAGE MAGIC. 



stars have a moveable stud at the the side of the pillar, con- 
connected with the rod within, to facilitate this mode of work- 
ing the trick. 

THE CAED BOUQUET, 

This is a trick Very similar in effect to the last described, 
though differing a little as to the manner of the appearance of 
the cards. Six cards are drawn, and placed in a pistol, as in 
the last case. A vase (apparently of china, but really of tin, 
japanned), containing a handsome bouquet, is placed on the 
table, and, at the instant of firing, the six cards appear ranged 
in a semicircle above the flowers in the bouquet. {See Fig. In 
this instance, the cards are attached to the branches of a sort 
of fan, so constructed as to open of its own accord, unless 
forcibly kept closed. The cards haying been duly placed in 
position, this fan is shut, and pressed downwards through a 
narrow opening in the lower part of the vase, the pressure of 
whose sides keeps it, for the time being, closed. When pressed 
upwards by the action of a piston, the fan rises above the level 
of the flowers, and at the same time opens and exhibits the six 
cards. 

The vase is sometimes made 
with a second pedal, to produce 
a second series of six cards . In 
this case twelve cae-ds are drawn ; 
six of these first appear, and 
then, at the command of the 
performer, these six suddenly 
change to the other six. This 
is effected as follows: — The 
twelve cards are pasted back to 
back in couples. Each of the 
six arms which hold the cards is 
arranged as to be aapable of 
being turned half r^nd (after 
the manner of the centre of the 
"watch target"), in which 
position it is retained by a 
catch, flying back however to its 
old position as soon as the catch 
is released. This six arms are each turned round in this man- 
ner, bringing what are naturally the hindmost cards in front. 
The movement of the first lever exhibits these cards ; that of 
the second lever releases the six catches, when the arms in- 
stantly fly round and reveal the other six cards, into whiph 
those first exhibited appear to have changed. 




PARLOR AND STAGE MAGIC. 



59 





He looks about in searcli of his pistol, which is immediately 
afterwards brought in by the assistant. The performer places 



60 



PARLOK AND STAGE MAGIC. 



the handkerchief, etc., in the pistol, the assistant meanwhile 
bringing forward and placing on the table a handsome picture- 
frame, mounted on a stand. It contains no picture, the space 
which the picture should occupy being filled by board covered 
with black cloth. The performer takes aim at* it, and fires, 
when the borrowed articles are seen instantly to attach them- 
selves to the black background, whence, being removed, 
they are handed to the owners for identification. 

The picture-frame, which is of the appearance shown in Fig. 
and stands altogether about two feet high, is backed by a sort 
of wooden box, an inch and a half in depth, and a little smaller 
than the external measurement of the frame. The inside of 
this box is covered with black cloth, and in fact from the true 
back of the frame ; and it is upon this that the borrowed ob- 
jects are fastened by means of small sharp hooks, the back 
opening on hinges to facilitate the doing so. An ordinary 
spring roller-blind, also of black cloth, works up and down 
just behind the opening of the frame. We have said an or- 
dinary spring blind, but, in truth, the usual check at the side 
is wanting, and the blind therefore, if drawn down, instantly 
flies up again, unless held down from the elbow. The blind 
terminates at bottom in a square lath, five-eighths of an inch 
in length by three eighths in thickness, with a wire pin, half- 
an-inch in length, projecting at right angles from its hinder 
side. The ends of this lath, when the blind is drawn down, 
sink into two uprigh grooves, one at each side of the frame, 
thereby keeping the latter square, and the pin in a horizontal 



position. The catch is now hooked over the pin, thus holding 
the blind down. A wire rod, attached to this catch, passes 
down the column on which the frame stands, and terminates 
in the usual disc or pedal at bottom. 

The sudden appearance of the articles in the frame is thus 
sufficiently accounted for, but it remains to be explained in 
what manner the were placed there, as, they have (apparently) 
never been removed from the sight of the audience what is 
placed upon the table is a substitute handkerchief, similarly 
rolled up, while the original is dropped on the sei'vante, 




PAKLOE AND STAGE MAGIC. 



61 



and carried off by the assistant when he brings in the pistol. 
Having thus obtained possession of the articles, he quickly 
places them in the frame, and draws down and fastens the blind. 
This done, he closes the door at the back, and brings forward 
the frame, taking care to place it immediately over one of the 
pistons of the table. As the pistol is fired he pulls the cord, 
the blind flies up, and the articles are revealed. 

THE FLYING WATCHES AND THE BBOKEN PLATE. 



62 



rAKLOR AND STAGE MAGlU. 



This is a rather more elaborate form of the trick last de* 
scribed, i'be performer collects three or four watches from the 
company, the assistant, meanwhile, being sent to fetch a plate, 
On his return, the watches are laid one by one on the plate, 
and he is ordered to place them on the table. In attempting 
to do so he trips and falls, the watches being scattered in all 
directions, and the plate being smashed to pieces. The per- 
former reprimands the ofender for his carelessness, and pick- 
ing up the watches, finds that they are injured in various ways. 
After a momentary hesitation, he hits on a way of repairing 
the damage. Calling for his pistol, he drops the battered 
watches and the fragments of the plate into it, keeping all 
down with a wad of newspaper. The assistant now brings in 
the picture frame, as in the last trick, and the performer 
taking good aim, fires at it. At the instant of firing, the plate 
is seen restored in the centre of the frame, with the borrowed 
watches encircling it. The performer advances to remove and 
retuin them to the owners, but is (or appears to be) thunder- 
struck at perceiving that the restoration is incomplete, a large 
piece being missing from the plate. {See ¥ig.) After a mo- 
ment' s reflection, he discovers the cause of the defect, for look- 
ing about upon the stage he finds and picks up a fragment 
which he had overlooked when he put the rest in the pistol, 
and which consequently is wanting in the restored plate. He 
apologizes for the oversight, and proceeds to remedy it. 
Standing at the farthest portion of the stage, he makes the 
the motion of throwing the recovered fragment towards the 
the frame. It is seen to vanish from his hand, and the 
plate at the same moment appears whole as at first. The 
plate is removed, and with the restored watches handed to 
the audience for examination, when the closest inspection 
fails to discover any trace of fi-acture. 

The first point to be explained is the mode in which the 
assistant obtains possession ol the borrowed watches, in order 
to place them in the frame. The watches are collected by 
the* performer in a changing apparatus In this is placed 
beforehand a like number of dummy watches, and it is 
these latter which are placed on the plate, and meet the pre- 
destinated downfall. The apparatus being apparently 
left empty, no suspicion is excited by the fact that the assist- 
ant, when sent to fetch the pistol or the frame, carries it off as 
no longer needed. , 

The sudden restoration of the piece apparently wanting in 
in the plate, though marvellous to the uninitiated, is really 
effected by very simple means. The restored plate is through- 
out whole and unbroken, but the effect of a piece wanting is 
produced by covering one portion of its outer rim with an 
angular piece of black velvet or alapaca, similar to that which 



PARLOR AND STAGE MAGIC. 



63 



eortrs th« back of the frame. This illusive effect is perf««t. 
The frame is provided with two pedals, the first releasing the 
black blind in front of the plate and watches, and the second 
serving to withdraw the angular piece of cloth already men- 
tioned, and thus (apparently) effecting the complete restoration 
of the plate. The pretended disappearance of the broken 
piece from the hand at the moment of throwing is effected 
hj taking it first in the left hand, and thence apparently 
transferring it to the right by the tourniquet, so that when 
the right hand is opened in the act of throwing, it is natural- 
ly found empty. 

THE SPHINX. — {See Frontspiece.) 

Few tricks have of late years caused so great a sensation as 
this now well-known illusion, which was first introduced to 
the London public'by the late Colonel Stodare. We cannot 
better preface the explanation of the trick than by quoting a 
portion of the London Times notice on the subject. 

" Most intricate is the problem proposed by Colonel 

Stodare, when, in addition to his admirable feats of ventrilo- 
quism and legerdemain, he presents to his patrons a novel 
illusion called the 'Sphinx,' Placing upon an uncovered table 
a chest similar in size to the the cases commonly occupied by 
stuffed dogs or foxes, he removes the side facing the spectators 
and reveals a head attired after the fashion of an Egyptian 
Sphinx. To avoid the suspicion of ventriloquism, he retires 
to a distance from the figure supposed to be too great for the 
practice of the art, taking his position on the border-line of 
the stalls and the area, while the chest is on the stage. Thus 
stationed, he calls iipon the Sphinx to open its eyes, which it 
does— to smile, which it does also, though the habitual expres- 
sion of its countenance is most melancholy, and to make a 
speech, which it does also this being the miraculous part of 
the exhibition. Not only with perspicuity, but with something 
like eloquence, does it utter some twenty lines of verse ; and 
while its countenance is animated and expressive, the move- 
ment of the lips, in which there is nothing mechanical, exactly 
corresponds to the sounds articulated. 

This is certainly one of the most extraordinary illusions 
ever presented to the public. That the speech is spoken by a 
human voice there is no doubt, but how is a head to be con- 
trived which, being detached from anything like a body, con- 
fined in a case, which it completely fills, and placed on a bare- 
legged table, will accompany a speech, that apparently pro- 
ceeds from its lips, with a strictly appropriate movement of the 
mouth, and play of the countenance that is the reverse of me- 
chanical ? Eelsj as we all know, can wiggle about after they 



64 



PAELOR AND STAGE MAGIC. 



have been chopped into half-a-dozen pieces ; but a head that, 
like that of the Physician Douban , in the Arabian tales, puruses 
its eloquence after it has been served from its body, scarcely 
comes within the reach of possibilities ; unless, indeed, the 
old-fashioned assertion that ' King Charles walked and talked 
half-an-honr after his head was cut off,' is to be received, not as 
an illustrstion of defective punctuation, but as a positive histo- 
rical statement. 

Davus might have solved the ' Anthropoglossus,' but Col- 
onel Stodare presents us with a Sphinx that is really worthy of 
an CEdipus." 

For the benefit of those who have never seen this illusion 
presented upon the stage, we will describe its effect a little 
more minutely. The Sphinx is always made a separate portion 
of the entertainment, as it is necessary to lower the curtain for 
a few moments before and after its appearance, in order to 
arrange and remove the necessary preparations. The curtain 
rises, and reveals a round or oval table, supported upon 
three slender legs, and utterly devoid of drapery. This stands 
in a curtained recess of ten or twelve feet square, open on the 
side towards the audience. The performer comes forward 
bearing a cloth-covered box, fifteen or twenty inches square, 
and places it upon the table already mentioned. He then un- 
locks the box, the front of which drops down,, so as to give a 
perfect view of the interior, in which is seen a head of Egyptian 
fashion, and colored in perfect imitation of life. The perfor- 
mer now retires to a position in the very midst of the audience 
and raising his wand, says in a tone of command. "Sphinx, 
awake !" The Sphinx slowly opens its eyes, looking first to 
the front with a strong gaze ; then, as if gradually gaining 
consciousness, to the one side and the other, the head moving 
elighty with the eyes. Questions are put by the performer to 
the head, and are answered by it, the play of the mouth and 
features being in perfect harmony with the sounds uttered. 
Finally, in answer to a query of the operator, the Sphinx de- 
clams a neatly turned oracle in verse. This concludes the ex- 
hibition, and the performer closes the box. Should the audi- 
ence call for an enchore, the performer addresses them to the 
following or some similiar effect: | '• Ladies and gentlemen, I 
am glad that the Sphinx has afforJed you satisfaction, and I 
should be only too pleased to be able to indulge the desire 
you kindly testify of seeing it again. Unfortunately, this is 
not possible. The charm by which I am enabled, as you have 
seen, to revivify for a space the ashes of an acient Egyptian, 
who lived and died some centries ago, lasts but for fifteen 
minutes. That time has now expired, and the head which has 
astonished you with its mysterious eloquence has again return- 
ed to its original dust" Ashe speaks the last words, he again 



PAELOR AND STAGE MAGIC 



65 



opens the box, and the hecad is found to have disappeared, 
leaving in its place a handful of ashes. 

This singular illusion depends upon the well-known princi- 
ple common to optics as to mechanics, that " the angle of re- 
flection is equal to the angle of incidence." Thus, if a person 
standing at the point a, look into the mirror placed in the 
position indicated by the line he, he will see reflected no. 
himself, but whatever object may be placed at the point d. Bj 



an ingenious application of the principle a looking-glass may 
be used to conceal a given object behind it, while at the same 
time an image reflected in the glass may bo made to represent 
what would be presumably seen if no glass were there, and 
thus prevent the presence of the mirror from being suspected. 
This is the secret of the Sphinx. The table, as already men- 
tioned, has three legs, one in. front, and one at each side. Be- 
tween these legs the spectator sees apparently the curtains at 
the back of the recess, but really a reflection of the curtains at 
the sides. The space between the middle leg and that on 
either side is occupied by pieces of looking-glass which repre- 
sents a ground plan of the arrangement), extending from a to 
h, and a to c. The glass extends quite down to the floor, which 
is covered with cloth of the same material and color as the sur- 
rounding curtains. The spectators, therefore, looking towards 
the table, see above it the curtains at the back, and delow it 
the reflection of the curtains at the sides ; which, however, if 
the relative angles are properly arranged, appears to be simply 
the continuation or lowor portion of the curtains at the back. 
The illusion is perfect, and the spectator, from the position 
assigned to him, cannot possibly discover, by the evidence of 
his senses, that he is looking at any other than an ordinary 



d 




bo 



PAELOK AND STAGE MAGIC. 



bave-legged table, with the background visiblo in th« nsual 
way. 

The rest is a very simple matter. The person who is repre- 
sent the Sphinx is beforehand placed, duly attired, underneath 
the table. There is a trap in the table through which he can 
pass his head at the proper moment. This trap is a round 
piece of wood, covered to match the surface of the table, and 
working on a hinge on the side nearest to the audience. It 
has no spring, but is kept closed by means of button on 
ths opposite side, and when released hangs down perpen- 
dicularly. It must be large enough to allow the passage of 
the somewhat eleborate headpiece of the Sphinx, and would 
therefore leave an open space visible round the neck. This 
difficulty is met by the expedient of having a wooden collar, 
whose upper surface is a facsimile in size and pattern of the 
trap fastened round the neck of the representative of the 
Sphinx, When he lifts his head up through the trap, this 
collar exactly fills the opening, and thus shows no break in 
the surface of the table. The box is bottomless, and when 
brought forward by the performer is empt3\ A little caution 
has to be observed in placing it upon the table, for, if the 
performer were to approach the table from the side, his legs 
would be reflected in the glass, and would thereby betray 
the secret. He must therefore make his appearance from some 
quarter outside ot the curtained recess, and advance to a posi- 
tion well in front of, and at some little distance from the table, 
when, by mpving in a etraight line from the audience to- 
wards the middle leg a, he prevents this inconvenient re- 
flection. The placing the box upon the table, and the un- 
locking it, allow some time for the representative of Sphinx 
to get his head into position within it, This done, the box 
is opened, and the rest depends on the dramatic talent of 
the performer and his assistant. The performance being con- 
cluded, the box is again locked, and the head withdrawn, a 
handful of ashes being introduoed on the trap in its stead. 

The angle at which the two mirrors should be set cannot 
be determined absolutely, but will vary according to the 
distance and position of the surrounding drapery. 

Some performers use a shawl or a screen of cardboaid in 
place of the box, but we doubt whether any method is more 
efi'ective than that above described. 

The ghastly illusion of the so-called "Decapitated Head," 
is merely the " Sphinx," in a less pleasant form. 

THE CABINET OF PB0TEX7S. 

This is another adaptation of the principle on which the 
Sphinx illusion is founded, It is the joint invention of Messrs. 



FARLOE AND STAGE MAGIC. 67 

Pepper and Tobin, by whom it was patented in 1865, The 
first steps towards a patent for the Sphinx were also taken in 
the same year, but the latter invention never preceded beyond 
provisional protection. 
The Cabinet of Proteus 
is a wooden closet, 7 to 
8 feet in height by four 
or five feet square, sup- 
ported on short legs, so 
as to exclude the idea 
of any communication 
with the floor. (/See Fig.) 
It has folding doors and 
an upright pillar ex- 
tends from top to bot- 
tom of the interior, at 
about the centre of the 
cabinet. At the top of 
this pillar, in front is 
fixed a lamp, so that the 
whole of the interior is 
brightly illuminated. 

The cabinet may be 
used in various ways. 
One of the most striking 
is as follows : The fold- 
ing doors are opened, 
disclosing the interior 
perfectly empty. (;See Fig.) The exhibitor directs his assist- 
ant to walk into the cabinet. He does so, and the doors are 
closed. Meanwhile, a couple of gentlemen, selected by the 
audience, are invited to stand behind or beside the cabinet, 
and see that no one obtains ingress or egress by any secret 
opening. Notwithstanding these precautions, when the doors 
are again opened, the assistant is found to have vanished, and 
another person, different in drees, in stature, and in com- 
plexion, is found in his place. This person steps forth, makes 
his bow, and retires. Again the cabinet, now empty, is closed, 
and after an interval of a few moments, again opened. This 
time human skeleton is found to occupy the vacant space . 
This ghastly object having been removed, and the door having 
been once more closed and opened, another person, say a lady, 
appears. This person having retired, the doors are again 
closed ; and when the aie again opened, the person who first 
entered is once more found within. A committee from the 
audignce are now invited to examine the cabinet within and 
without, but all their scrutiny cannot detect any hidden space, 
even sufficient to conceal a mouse. " — 




68 



PARLOR AND STAGE MAGIC. 



An examination of Fig, representing a ground plan of the 
cabinet, will make plain the seeming mystery. A moveable 
flap Q 6, working on hinges at &, extends from top to bottom 

of each side, 
resting when 
thrown open 
against the post 
c in the middle 
and thns en- 
closing a trian- 
gular space at 
the back of tlie 
cabinet. The 
outer surfaces 
of these flaps 
{i.e., the siir- 
faces exposed 
when they are 
folded bade 
again s t the 
sides of the cab- 
inet) are, like 
the rest of the 
interior, covei- 
ed with wall 
paper, of a 
cri m so n or 
other d a r k 
color, Thec})- 
posite sides ui 

the flaps are of looking-glass, and when the fiaps are folded 
back against the posts, reflect the surfaces against which they 
previously rested, aud which are covered with paper of the 
same pattern as the rest. The effcfc to the eye of the spectatoi- 
is that of a perfectly empty char^ber though, as we have seen, 
there is in reality au enclosed trian- 
gular space behind the post. This 
is capable of containing two or 
three persons, and here it is that 
the persons nnd things intended to 
appear in succession are concealed. 
Tlie assistant, entering in sight of 
the audience, changes places, as 
the door is closd, with one of the 
other persons. This person having 
retired, and the door being again 
closed, those who are still within 




place the skeleton in position in front of 




post. 



again 



PARLOE AND STAGE MAGIC. 



69 



retire to their hiding-place. When all the rest have appeared, 
the person who firs entered presses the flaps against the sides 
of the cabinet, against which they are retained by a spring lock 
on each side, and the public may then safely be admitted, as 
their closet inspection cannot possibly discover the secret. 

THE INDIAN BASKET TRICK. 

This is another of the sensational feats identified with the 
the name of Colonel Stodare, and is imitated from a similar il- 
lusion performed by the Indian conjurors. It is not a pleasant 
trick to witness, but, like the "Decapitated Head," it drew im- 
mense crowds, its fictitious horror being apparently its chief 
attraction . Its effect, as the trick was originally presented by 
Stodare, is as follows :— A large oblong basket, say five feet by 
two, and as deep as wide, is brought in and placed on a low 




stand or bench, so as to be raised clear of the stage. The per- 
former comes forward with a drawn sword in his right hapd, 



70 



PARLOR AND STAGE MAGIC. 



and leading with the other hand a j'oung lady, dressed in a 
closely-fitting robe of black velvet. Reproaching her upon 
some pretended ground of complaint, he declares that she must 
be punished, and forthwith begins to blindfold her eyes. She 
simulates terror, begging for mercy, and finally escaping from 
him, runs off the stage. He follows her, and instanily reap- 
pears, dragging her by the wrist. Regardless for her sobs and 
cries, he compels her to enter the basket, in which she lies 
down, and the lid is closed. Simulating an access of fury, he 
trusts the sword through the basket (from the front) in various 
places. Piercing screams are heard from the interior, and the 
sword when withrawn is seen to be red with blood. The 
screams gradually subside, and all is still, A thrill of horror 
rung through the audience, who are half inclined to call in the 
police, and hand over the professor to the nearest magistrate. 
For a moment there is a pause, and then the performer, calmly 
wiping the bloody sword on a white pocket-handkerchief, says, 
ladies and gentlemen, I fear you imagine that I have hurt the 
lady who was the subject of this experiment. Pray disabuse 
yourselves of such an idea. She had disobeyed me, and I 
therefore determined to punish her by giving her a little 
fright ; but nothing more. The fact is, she had left the basket 
some time before I trust the sword into it. You don't believe 
me, I see. Allow me to show you, in the first place, that the 
basket is empty," He turns over the basket accordingly, and 
shows that the lady has vanished. " Should you desire further 
proof, the lady will answer for herself." The lady at this 
moment comes forward from a different portion of the room, 
and having made her bow, retires. 

This startling illusion is performed as follows : — To begin 
with, there are two ladies employed, in figure and general ap- 
pearance as nearly alike as possible. Their dress is also ex- 
actly similar. The little dramatic scene with which the trick 
commences is designed to impress upon the audience the 
features of the lady who first appears. When she is blindfold- 
ed, she, as already mentioned, runs off the stage. The perfor- 
mer runs after her, and apparently bringing her back, really 
brings back in her place the second lady, who is standing in 
readiness, blindfolded in precisely the same way, behind the 
scenes. As the bandage covers the greater part of her features, 
there is little fear of the spectators detecting the substitution 
that has taken place. The substitute lady now enters the 
basket, where she lies, compressing herself into a small com- 
pass as possible, along the back. Knowing the position which 
she occupies, it is not very diflBcult matter for the operator so 
to direct the trusts of the sword as to avoid any risk in injur- 
ing her. The chief thing to be attended to for this purpose i« 
to thrust always in an upward direction. TlhQ appearance o| 



PARLOR AND STAGE MAGIC. 



71 



blood on the sword may be produced either by the lady in the 
basket drawing along the blade, as it is withdrawn after each 
thrust, a sponge saturated with some crimson fluid, or by a 
mechanical arrangement in the hilt, causing the supposed 
blood, on pressure, to trickle down the blade. 

The only point that remains to be explained is the diflSculty 
which will probably already have suggested itself to the reader, 
viz., " How does the performer manage to show the basket 
empty at the close of the trick ?" Simply by having the basket 
made on the principle of the " inexhaustible box." The per- 
former takes care to tilt the basket over to the front before 
he raises the lid. This leaves the lady on the true bottom 
of the basket (see Fig. , while a moveab)e flap, fixed at right 
angles to the bottom, and lying in its normal position flat 
against the front of the basket, for the time being represents 
the bottom to the eye of the audience. While the basket is 
thus shown apparently empty, the lady who first appeared 
in the trick comes forward, and is immediately recognized 
by the audience, and as they are fully persuaded that she 
the person placed in the basket, the inference that she has 
escaped from it by some quasi-supernatural means seems 
inevitable. 

The above is the form in which the trick was first intro- 
duced to the public, but another modus operandi has since 
been adopted by some performers. The low table or bench 
on which the basket is placed is in this case constructed on 
the principle of the Sphinx-table, with looking-glass between 
the legs, and with a large trap in the top. The basket used is 
not made like the inexhaustible box, but the bottom is move- 
able, and hinged against the front, so as to lift up flat against 
it when required. One lady only is employed. "When she is 
about to step into the basket, the bottom is pushed up from 
below, and she thus steps through the basket and the table, 
and thence passes through a trap-door, beneath the stage. The 
basket is then closed, and the bottom allowed to fall back into 
its place. As the basket is left in this case empty, the perfo-r- 
mer may thrust into it in any direction at pleasure, the screams 
being uttered by the lady from her safe quarters below. At the 
proper moment the performer lifts the barket bodily ofi" the 
table, and shows it really empty, while the lady, as tn the for- 
mer case appears in some other quarter. 

THE MAGIC DaUM. 

This is in appearance an ordinary side-drum, but being 
hung up by cords from the ceiling, it will forthwith, without 
any visible drumsticks, give either a single rap or a roll, or 
jseep time to any piece of music. It will further answer ques' 



72 



PARLOR AND STAGE MAGIC 



tions and tell fortunes, indicate chosen cards, etc., after the 
manner of the magic bell. 

These mysterious effects are produced by two hammers oi 
drumsticks, fixed against one end of the drum on the inside. 
Each of these is attached to the keeper of an electro-magnet, 
bot there is a difference in the mode of their working. One 
works after the manner of the bell, gi^'ing a single tap when- 
ever contact is made, but thenceforward remaining silent until 
the circuit is again broken and again completed, In other 
words, each pressure of the connecting stud produces one rap, 
and no more. The second hammer is differently arranged. By 
means of what is called a "contact-breaker," the movement 
of the keeper, when attracted by the magnet, of itself breaks 
the circuit. The circuit being broken, the iron is no longer 
magnetic, and the keeper flies back to its old position, thereby 
once more completing the circuit. As long as the pressure on 
the stud continues, therefore, the circuit is alternately made 
and broken in rapid succession, involving a corresponding 
movement of the keeper and hammer, and producing a " roll" 
of the drum. The use of the two hammers involves the neces- 
sity of the two electoral circuits and two connecting studs, and 
of three cords to suspend the drum (one being common to 
both circuits). With a little practice in the management of 
the two studs, the single rapper may be made to beat time to a 
tune, while the other stud brines in the roll at appropriate in- 
tervals. 

There are some drums (of an inferior character) made with 
one hammer only ; such hammer being arranged for. the roll. 
Where it is dssired to give a single rap, this may be effected 
by pressing and instantly realeasing the stud with a light, 
quick touch ; but some little dexterity is required. 

In the case of all these appliances for magically answering 
questions, it is necessary that the assistant who has the control 
of the apparatus should be in such a position as to distinctly 
hear the questions asked. In fortune-telling matters the an- 
swer may generally be left to his own discretion ; but for in- 
dicating what card is chosen, etc., it is necessary either that an 
agreed card be forced, or that a carefully arranged code of 
verbal signals should be employed, whereby the form of the 
question may itself indicate the proper answer. Considerable 
tun may be caused by the magician selecting an evidently 
" engaged" couple, and after asking how many months it will 
be before they are married, etc., inquiring, in a stage whisper, 
how many children they are destined to be blest with. The 
drum raps steadly up to (say) five, and this is accepted as the 
answer, when, after a moment's pause, two more raps are 
heard in quick succseion. This alarming omen is received with 
general laughter, amid which the drum gives another rap, and 



PARLOR AND STAGE MAGIO 



then another, continuing until the performer, scandalized at 
its behaviour, unhooks it from the cords, and carries it, still 
rapping, off the stage. The last effect is wholly independent 
of electricity, being produced by he performer tapping with 
with his lingers that one end of the drum which for the time 
being is farthest from the audience. 

There are some few other tricks performed by the aid of 
electticity, but any one who understands the principle of those 
above described may make a very shrevved guess at the work- 
ing of the remainder. All tricks of this class, though ingenious 
and eflfective, are open to one or two serious objections. In 
the tirst place, the apparatus is very costly, and secondly, they 
are uupleassntly liable from the nicety of their mechanism and 
the absolute necessity of perfect electrical connection in all 
their parts, to hang fire at the critical moment, and lea.ve the 
operator in a very embarrassing position. Imagine the feelings 



U PAELOE A5^D STAGE! MAGld. 

of a performer -who, having just introduced his wonderful 
drum, -which is to display unheard-of oracuhir powers, finds 
that the instrument remains as mute as the celebrated harp of 
Tara's hall, and refuses to bear out in the smallest degree, his 
grandiloquent assertions . Yes this unpleasant result may oc- 
cur at any time from the simple breaking of a wire, or some 
even slighter cause. This, it appears to us, is a serious draw- 
back to the electrical tricks, though where they are exhibited 
at their best illusions are more beautiful, or have more of 
genuine magic about them. 

We should mention, before quitting the subject of these 
tricks, that in order to avoid the trouble and expense of fixing 
the necessary conducting wires in a building not especially ap- 
propriated to magical performances, an upright brass rod 
(which may be detached at pleasure, is sometimes fitted on 
each side of the performer's table (see Fig.), and the apparatus 
in use (drum, bell,. cash-box, etc.) is suspended by appropriate 
cords between these rods. The conducting wires are connect- 
ed within the table with the lower ends of the brass uprights, 
and thence pass down its hinder legs to the battery behind the 
scenes. There are many considerations of convenience in 
favorsof this arrangement, but the tricks performed are less 
effective than where the apparatus is hung fairly from the 
ceiling, and apparently out of all possible reach of mechanical 
influence. 

THE AKIAIi SUSPENSION OE A LIVINO WOMAN MADE TO EECLINE 
IN MID AIE. 

This is a very old trick, performed originally by the Indian 
jugglers, who kept the modus eperandi a profound secret. The 
ingenuity, however of Kobert Houdin penetrated the mystery, 
and made it a special feature of his seances fantastiques. The 
public mind was much interested iu the anaesthetic quality of 
ether, which had recently been discovered. Kobert Houdin, 
manipulated this fact into a valuable advertisement. He 
gave out what he had discovered in the popular anaesthetic a 
still more marvellous property, viz., that when inhaled under 
certain conditions, it neutralized the attraction of gravitation 
iu the person inhaling it, who became, for the time being, light 
as air. In proof of this, he brought forward his youngest son, 
tlien a child of ten or thereabouts, and after having made him 
smell at a small phial, really empty, but supposed to contain 
ether, caused him to recline in mid-air, with no other support 
than that afforded by all appearance, an ordinary walking-stick, 
])laced in a. vertical position under the right elbow. It is 
characteristic of Robert Houdin's minute attention to the mise 
sn scene of a trick, that while his son sniffed at the empty bottle. 
iii>i assi«taut behind the scenes, poured genuine ether upon a 



PARLOtl AND STAGE MAGId. 



tot shovel, so that the fumes, reaching the nostrals of the audi 
euce, might prove, indirectly but convincinglj', that ether was 
really employed. After the retirement of Robert Houdin from 
the stage, the trick fell comparatively out of notice, till it was 
revived in a new form by the Fakir of Oolu (Professor Sylves- 
ter) m England, and contemporaneously by De Vere on the 



PAELOE AND STAGH MAGtd. 



Continent. A full grown young lady was in this case the sub- 
ject of the illusion, and was made, while still suspended in air, 
to assume various costumes and characters. The illusion, in 
this new form, took the fancy of the public, and brought forth 
a host of imitators ; but few have presented it with the same 
complen ess as the two performers named. For a time it pro- 
duced quite a marked sensation, and eqnal crowds thronging 




1 



PAELOK AND ^Vm'Ji MAGrld T," 

to 'see Sylvester in Loudon, and D'aVere in Paris, St. Pfters- 
burg, Brussels, Pestb, Dresden, Strasburg, and other con- 
tinental cities. Eecent mechanical improvements, to which 
the last-named Professor has materially contributed, have 
greatly heightened the effect of the trick— the lady being made, 
to rise spontansonsly from the perpendicular to the horizontal 



78 



I^AELOR AKD STAGE MAGIC. 



position, and to continue to float in the air after her last osten- 
sible support has been removed. 

Apart from these special mysteries, which we are not at 
liberty to reveal, the trick is as follows : — The performer brings- 
forward the girl or boy who is to be the subject of the illusion, 
and who is dressed in some fancy costume. A low bench or 
table, say five feet in length by two in width, and on legs 
about six inches in height, is brought forward, and shown to 
be wholly disconnected from the floor or the stage, on tJais is 
placed a small stool, on which the subject of the experiment 
(whom, in the present instance, we will sujDpose to be a young 
lady) mounts. She extends her arms, and under each is 
placed a stout rod on pole of appropriate length. (/See Fig.) 
The performer makes pretended mesmeric passes over her, 
and in a minute or two her head is seen to droop, and after a 
few more passes her eyes close, and she is, to all external ap- 
pearance, in a mesmeric sleep. The operator now takes the 
stool from under her feet, 
when she hangs suspend- 
ed between two rods. 
Again a few more passes, 
and the operator re- 
moves the rod that 
supports the left arm, and 
gently mesmerises the 
arm down to the side, t7 
Still the girl hangs motion- 
less, with no other support 
than the single upright 
rod on which her right 
arm rests. (See Fig.) The 
operator now drajoes her 
in various costumes, still 
keeping up from time 
to time the supposed 
mesmeric passes. Bend- 
ing her right arm so as to 
support her head, he next 
lifts her gently to an angle 
of to the upright rod 
(as shown by the dotted 
line in Fig. and finally 
raises her to a horizontal 
position, as in Fig. 

An inspection of the 
diagrams will already 
have furnished the clue 
to the mystery. 




fAKLOR AND STAGE MAGIC. 



76 



Of the two npright rods, oue (that placed imder the 
left arm) is wholly without preparation, and may be 
freely handed for examination. The other, a, -is either 
of iron throughout (this Avas the caso with the pretended walk- 
ing-stick used by Eobert Houdin) or of well-seasoned wood 
with an iron core, and capable of bearing a very heavy weigbt. 
The lower part of this sinks into a socket in the low board or 
or table already mentioned, and thus becomes, for the time be- 
ing, a lixtnre. In the upper end is hollowed out a small space, 
about an inch in depth, for the purpose which will presently 
apuoar . -The subject of the experiment wears, underneath her 
page's costume, a sort of iron corset, or framework, similar to 
th it ♦shown in Figs. An iron girdle, « o, passes nearly roiind 
the waist, the circle being completed by a leather strap. At 
rii^ht angles to this, on the right side, is fixed an iron upright, 
h h, extending from jnst below the armpit nearly to the knee, 
but with a joint c (working back- 
wards only) at the hip, a strap d, 
round the leg, keeping it in posi- 
tion, so as to allow of bending 
the thigh. From the back of the 
iron girdle, in the centre proceeds 
a crutch e, also of iron, passing 
between the legs, and, connected 
by a strap to the front of the 
girdle. A fourth strap f, con- 
nected with tlie girdle in front 
and rear, passes over the left 
shoulder, and prevents any risk 
of the apparatits slipping down- 
wards. To the upper part of the 
upright, 1) h, -immediately below 
the armpit, is rivited a short flat 
piece of iron, g, working freely 
upon it. The end of g, which 
forms the joint shown enlarged in 
Fig. is welded into a semicircular 
ratchet, with three teeth corres- 
ponding with the check 7i, lying- 
parallel with b b, and which, in 
its normal position, is pressed up 
close into the. teeth of the ratchet 
by a spring, but may b© with- 
drawn by a downward pressure 
^ on the hook i. The opposite end 
g has projecting from its under 
si.lp. iit right angles, an iron plug, 
J. whicli just fits into the cavity 




80 



PARLOR AND STAGE MAGIC. 



before mentioned in the top of the rod a. There is an opening 
in the under part of the sleeve, to give passage to this plug, 
which, when inserted in the corresponding cavity of a, makes 
gr, relative to it, a fixture. The remainder of the iron frame- 
work (and with it the lady) remains moveable, to the extent 
that, by means of the joint at g, it can be made to describe an 
an arc of 90o to to the upright rod. 

The mode of operation will now be clear When the young 
I'ady mounts on the stool, and extends her arms, th*e perfor- 
Ai^r, in placing the upright beneath them, takes care to let 
tko. lower end of a sink properly into the socket, and adapt 
the ping J to the cavity at top. The apparatus is now .in the 
position shown in Fig ., and when the stool is removed, the 
lady is left apparently resting on a, but in reality comfort- 
ably seated in her iron cage, the di'iferent parts of which 
are all carefully padded, so as to occasion her no discomfort. 
Her legs and arms, being quite free, may be placed in any po- 
sition that the performer choses; and when presently he lifts 
her into a slanting position, as shown by the dotted line in the 
figure the check h drops into the second tooth of the ratchet, 
and thus maintains her in that, position. After a short interval 
she is lifted into the horizontal position as shoAvn, when the 
check drops into the third tooth of tlie ratchet, and so m.nin- 
tuins her, apparently sleeping upon an aerial conch. As the 
support terminates above the riglit knee, the legs are kept ex- 
tended by muscular power. This attitude is tlierefore verj" 
fatiguing, audJ'or that reason cannot be continued more than 
a few moments. To replace the body in an upright position, 
the performer places both hands under the recnmbent figure, 
the left hand easily finding (through the tnnio ) and drawing 
down the hook i thereby withdrawing the check, and allow- 
ing the lady to sink down gently to the perpendicular. The 
:stool is again placed under her feet, and the second upright 
under her left arm, before the operator begins to demesmerize 
her, which he does after the orthodox fashion with reverse 
passes, the lady stimulating as best she may the bewildered 
and half-scared expression of one newly awakened from a mes- 
meric trance. 

THE BUENING GLOBE. 

This is a hollow brass globe from four to six inches in di- 
ameter, mounted on a foot of about the same hight, and sur- 
mounted by a cap or lid, so that it forms, in fact, a spherical 
canister. A raised band, also of brass, passes horizontally 
around the giobe; and this, which is apparently a mere orna- 
ment, is really designed to conceal the fact that the globe is 
divided into two se])erate heiuispheres, revolving one upon 
the other. Within this external globe is an inner one. divided 



?AKL01i AND STAGE MAGIG, 



81 



iftto two compartmeuts, each having a separate opening and 
Ko contrived that each of these openiugs in turn, is made to 
correspond with the opening of the external globe, according 
as the npper hemisphere of the latter is moved round from 
right to left or the reverse way. The globe is prepared by plac- 
ing a sribstitate handkerchief, or peice of cambric, in one or 
other of the inner compartments, and then bringing the other 
couipurtment into correspondence with the external opening. 
A borrowed handkerchief being openly placed in the empty 
compartment, the performer by merely giving a balf turn to 
the foot of the apparatus, brings the compartment containing 
the substitute uppermost. 

THE VANISHING GLOVES. 

This is a capital trick with which to commence an entertain- 
ment ; when coming, as it should do, unannounced, and be- 
fore the performance proper has commenced, it has an air of 
improvisation which greatly enhances its effect, and at once 
awakens the attention of tLe audience. 

The performer comes forward in full evening dres While 
saying a few words by way of introduction to his entertain- 
ment, he begins to take off his gloves, commencing with that 
on his right hand. As Bocn as it is fairly off, he takes it in the 
right hand, waves the hand wiMi a careless gesture, and the 
glove is gone. Ho begins to take off the other, walking as he 
does so behind his table, wherein his wand is laid. Tbe left 
hand glove being removed, is rolled up into a ball, and trans- 
ferred from the right hand to the- left, which is immediately 
closed. The right hand picks up the wand, and with ]t touches 
the left, which being slowly opened, the second glove ii found 
to have also disappeared. 

The disappearance of the first glove is effected by means of a 
piece of cord elastic, attached to the back of tbe waistcoat, and 
thence passing down the sleeve. This should be of such a 
length as to allow the glove to he drawn down and put on the 
hand, and yet to pull it smartly up the sleeve and out ot sight 
when released. It is desirable to have a hem round the wrist 
of the glove, and to pass the elastic through this like the cord 
of a bag, as it thereby draws the wrist portion of the glove to- 
gether, and causes it to offer less hindrance to its passage up 
tbe sleeve. Upon taking off the glove, the performer retains it 
in his hand, and lets it go when he pleases. He must, how- 
ever, take care to straighten his arm before letting it slip, as 
otherwise the elastic will remain comparativelj'- slack, and the 
glove will, instead of disappearing with a flash, dangle ignom- 
iniously from the coat-cutf. 

The left hand glove is got rid of by palming. The perfor- 
mer, standing behind his table as already mentioned, rolling 
the glove between his hands, and quickly twisting the fingers 



82 



PARLOK AND STAGE MAGIC. 



inside, so as to bring ifc into more manageable form, pretends 
to place it in his left Land, but really palms it in bis right. Ha 
now lowers the right Land to pick up his wand, and as tbe 
hand reaches the table, drops the glove on the servante. He 
now touches tie left hand with the wand, in due course open- 
ing the hand and showing that the glove has departed. 

Some performers vanish both gloves by means of elastic, one 
up the right Lleeve, the other up the left, but in doing so they 
offend against one of the cardinal ])recepts of the art, viz., 
never to perform the same trick twice in succession by the 
same means. The audience having seen the manner of the 
first disappearance, are all on the alert, and are not unlikely 
on the second occasion to guess the means employed. If, on 
the other hand, the performer adopts the plan indicated above, 
the two modes of producing the effect being different, each 
renders it more difficult to discover the secret of the other. 

A DOZEN BABIES FKOM A HAT. 

Among the things available for production, may be enumer- 
ated dolls, of which a dozen, each eight or nine inches in 
height, may be produced from a borrowed hat. The dolls for 
this purpose are of colored muslin, stretched over a frame- 
work or sketeton of spiral wire, after the fashion of the multi- 
plying balls, and may be compressed vertically to a thickness 
of about three-quarters of an inch. A dozen of them may be 
packed within the hollow cannon-ball, described above, re- 
suming their shape as soon as they are released. 

THE TEANSFOEMED HANDKEECHIEF. 

The perforaier comes forward, requesting the loan of a lady's 
handkerchief. While it is being procured, he produces from 
the hair or whiskers of one of the spectators a lemon, which he 
carelessly trusts under somebody's nose in order to prove its 
genuineness. (The lemon, which, of course, was palmed, is a 
prepared one, from which the pulp has been scooped out, and 
which contaius a substitute handkerchief, so cannot be handed 
for examination.) Tuxuiug for an iuatant towards the stage, 
he tosses the lemon to his assistant, who catches it, and places 
it on the table. The momentary turn from the audience en- 
ubles Lim to get from under Lis waistband, and to palm, a 
little bundle of p)ieces of cambric, each about four inches 
square. Taidng the borrowed handkerchief, he rolls it into a 
b;dl between his hands, and hands it (apparently) to some one 
to hoLl, in reality substituting the torn pieces of cambric. He 
then turns, and takes a few paces towards his table, meanwhile 
tucking the handkerchief under his waistcoat, and taking 



PAELOU AND STAGE MAGIC. 



therefrom in place of it a strip of cambric, about four or five feet 
long and four inches wide, rolled up into a small compass. 
This be palms. Suddenly turning back, he exclaims, "My 
dear sir, what are" you doing with that handkerchief ? I never 
told you to do that !"The innocent holder looks up in astonish- 
ment, but the performer continues, '' Will you have the - kind- 
ness to open the hankerchief?" He does so, and finds it in 
pieces. After a little chaff about making him pay for the 
damage, the performer says, " Well, I suppose I must show 
you how to restore it." Here he again takes the pieces, and 
folds them together, "See, you must take them as I do, and 
rub them very gently with the left hand." Substituting the 
prepared slip, he hands to him ; but, when he begins to rub, 
exclaims again, " Dear me, dear me ! what are you doing now ? 
I told you the left hand. You are making matters worse than 
ever." The handkerchief is now found in a long strip. The 
performer endeavours to induce the owner to accept in this 
shape, which he assures her is the newest style ; but she, 
naturally objects, and begs that it may be restored to its 
original condition. For that purpose the performer, rolling the 
slip into a ball, places it in his pistol and rams it down with 
his wand. Appearing to reflect for a moment, he says, "Where 
shall I fire it ? Ah ! suppose I aim at the lemon on the table?" 
"Bang !" goes the pistol, and the performer, taking a knife, 
cuts the lemon all round (flinging the rind carelessly on the 
stage), and produces the substitute handkerchief (professedly 
the original) He comes forward to the audience with it, and, 
after than Icing the owner, makes a gesture of returning it; but, 
as if struck l)y a sudden thought, checks himself, and says, " I 
afraid it suitlls riither strong of the lemon. Will you allow me 
to scent it fnv you ? I have some capital Eau de Cologne here." 
Going back to his table, he places the handkerchief on a plate, 
and pours scent on it, turning as he does so to the owner, and 
saying, "Please tell me when you think there is enough." 
While his back is turned, the attendant, who has been stand- 
ing by holding a lighted candle, with a mischievous wink at 
the company, tilts the candle, and sets the handkerchief on 
fire. The performer apologizes for his assistant's stupidity, 
but appeals to the company to bear witness that it was no fault 
of his, and bringing forward the plate, with the handkerchief 
still blazing, ofi"ers it to the owner. She, of course, declines 
to take it, and the performer, remarking, " You don't like it in 
this condition ; well, tlu u, suppose I put it in paper for you," 
places the plate on Lite floor, telling the assistant to put it on 
the table, and runs otf to get the paper. The attendant tries t© 
lift off the plate, but finds that it burns his fingers. However, 
after several attempts, getting the plate a little nearer to th« 
table at each, he n^iana^es to place it on the table. Th® little 



PAKLOK AND STAGE MAGIO 



by-play amnses the audience, and gives tlie performer the few 
moments which he reqnires for hia preparations behind the 
scenes. Coming forward with a sheet of clean white paper, he 
wraps therein the still blazing handkerchief, crushing it to- 
gether so as to extinguish the flames. He offers the pocket so 
made to the lady, who, believing that it contains nothing but 
ashes, declines to receive it, when the professor tearing the 
paper apart, pulls out the handkerchief perfectly restored, 
while the burnt fragments have vanished. 

The effect last mentioned is produced by the use of a double 
paper, pasted together round three three of its side, and thus 
forming a kind of bag in the centre. In this bag the perfor- 
mer, during his momentary absence from the stage, places the 
genuine handkerohief, folded so as to occupy as little space 
possible. The handkerchief, therefore, lies between the two 
^ thicknesses of the paper, and when the rolled up packet is 
torn open from outside, may be removed without disturbing 
the burnt fragments, which still remain inside the paper. 

Where it is necessary, as for the purpose of this trick, to in- 
troduce some article into a lemon, the necessary jpreparation 
should be made as follows : — A lemon with a thick hard rind 
should be selected, and a plug-shaped piece, about an inch and 
a half in diameter, should be scooped with a sharp knife out 
of one end. The pulp may now be removed, leaving the rind 
a mere shell, while the piece originally cut out will f6rm a 
kind of stopper, which may be secured in its place by thrust- 
ing a hair-pin or piece of wire through the friiit and plug from 
side to side, and nipping off the ends flush with the outer sur- 
face. When the performer exhibits the lemon, he takes care 
to have the cut end inwards towards his palm; so that the 
the circular mark is concealed by the fingers, and when he 
desires to produce the handkerchief he cuts the opposite end. 

ro PASS A BOEEOWED EING INTO AN EGG. 

■This is an (.ffeciive conclusion to a ring trick. The necessary 
apparatus consists of two wooden egg-cups, inside one of 
which, at the bottom, is cut a mortice or slot just large 
enough to receive one-half the circumference of a lady's 
ring, and to hold it in an upright position. The second 
egg-cup has no speciality, being, in fact, merely a dummy, 
designed to be handed to the audience for inspection. An 
ordinary button-hook, or a piece of wire bent into the shape 
of a button-hook, completes the preparation. 

' We will assume that the performer has, in the course of 
one or other tricks already described, secretly obtained pos- 
session of a borrowed ring, which the audience believe still 

(t'rebiain in some place or apparatus in which they have 



PARLOR AND STA^E MAGIC. 



85 



seen it d«]^osited. The operator, retiring for an instant, re- 
turns with a plate of eggs in one hand, and the dummy egg- 
cap in the other. The special egg-cup, with the ring already 
in the mortice, is meanwhile placed either under his waistband, 
or in one or other of his pochettes, so as to be instantly get-at- 
able wheu required. Placing the eggs on the table, he hands 
round the egg-cup for inspection, that all may observe that 
it is wholly without prepiiration, and iu turning to place the 
ogg-cup on the table, he substitutes for it the one which con- 
taius the ring, but which the audience naturally believe to be 
that which they have just examined. 

Bringing forward the plate of eggs, the performer requests 
the company to choose whichever they please. While they are 
making their selection, he carefully turns back his sleeves, 
showing indirectly that his hands are empty. Taking the 
chosen egg with the tips of his fingers, and showing it on all 
sides, to prove that there is no preparation about it, he says. 
" Now, ladies and gentlemen, you have seen me place the ring 
which this lady has kindly lent me in ' so-and-so" " (according 
to the place where it is supposed to be). " You have selected, 
of your own free choice, this particular egg among half-a-dozen 
others. I am about to command the ring to leave the place 
where it now is, and to pass into the very centre of this egg. 
If you think the egg is prepared m vny way, it is open to you 
eveu now to choose another. You are all satisfied that the egg 
has not been tampered with? Well, then, just observe still 
that I have nothing iu my hands. I have merely to say, ' One, 
two, three ! Pass?' The j-ing is now in the egg.' At the word, 
"Pass," the performer taps one end of the egg with his wand,' 
just hard enough to crack it slightly. "Dear me,!' he says ; 
" I did not intend to hit it quite so hard ; but it is of no con- 
sequence," Stepping to the table, he places the egg, loiih the 
cracked end downwards, in the prepared egg-cup, using just 
sufficient pressure to force the egg well down upon the ring, 
the projecting portion of which is thereby forced into the egg, 
Tiie egg beiag already cracked, a very slight pressure is , suf- 
ficient. Bringing for\v;ird the egg in the cup, tiie hook already 
mentioned, ;ind a table-napkin, he taps the top of the egg 
HUiartly with his wand, so as to crack it, and offering the hook 
to tiie owner of the ring, requests her to see whether her pro- 
perty is not in the egg. The ring is immediately fished ont, 
and being v/iped upon the napkin, is recognized as that which 
was borrowed. The apparatus in which it was originally placed 
is, on being examined, found empty. 



86 



PARLOK AND STAGE MAGIC. 



TO PASS A KING FBOM THE ONE HAND TO EITHER FINGEE 
OF THE OTHER HAND. 

This is a very old aud simple trick, but it has puzzled many, 
and comes in appropriately in this place, as affording another 
illustration of the use of the " flying ring." The only addition- 
al preparation consists of a little hook, such nsis used to fasten 
ladies'^ 4resses, sewn to the trousers of the performer just level 
with the fingers of his right hand when hanging by liis side, 
but a little behind the thigh, so as to be covered by the coat- 
tail. Borrowing a wedding-ring, the performer receives it in 
his right hand, immediately transferring it in appearance (as 
iu the last trick) to his left hand. Showing in place of it the 
flying ring, which is already in his left hand, he drops the 
right hand to his side, and slips the borrowed ring on the little 
hook. Then remarking, '• You all see this ring, which I have 
just borrowed. I will make it invisibly pass to my right hand, 
and on to whichever finger of that hand you may please to 
select." Here he waves his right hand with an indicative 
gesture, thus indirectly showing that he has nothing therein, 
and again lets the hand fall carelessly hy his side. As soon as 
the finger is chosen, he slips the borrowed ring upon the end 
of that particular finger, immediately closing the hand so as to 
conceal it, and holds out the hand at arm's length in front of 
him. Then saying, One, two, three ! Pass !" he releases the 
flying ring, and, opening both hands, shows that the left is 
emptj^ and that the borrowed ring has passed to the selected 
finger on the right hand. 

The hook may, if preferred, be dispensed M-ith, the ring be- 
ing simply dropped into the pocheiie on the right side, and 
agaiji saken from thence when required. 

TO INDICATE ON THE DIAL OF A WATCH THE HOUR SECRETLY 
THOUGHT OF BY ANY OF THE COMPANY. 

The performer, taking a watch in the one hand, and a pencil 
in the other, proposes to give a specimen of his powers of 
divination. For this purpose he requests any one present to 
write down, or, if preferred, merely to think of, any_ hour he 
pleases. This having been done, the performor, M'ithout ask- 
ing any questions, proceeds to tap with the pencil different 
hoars on the dial of the watch, requesting the person who has 
thought of the hour to mentially count the taps, beginning from 
t}i,e number of the hour he fJiougld of. (Thus, if the hour he thought 
of were " nine, " he must count the first tap as "ten," the 
second as " eleven," and so on.) When, according tn this 
mode of counting, he reaches the number " twenty," he is to 
say " Stop," when the pencil of the perfornier will be found 



PAELOE AND STAGE MAGIC. 



37 



resting precisely upon that hour of the dial which he thought 
of. 

This capital little trick depends upon a simple arithmetical 
principle ; but the secret is so well digiiised that it is very 
rarely discovered. All that the performer has to do is to 
count in his own mind the taps that he gives, calling the 
first "one," the second "two," and so on. The first seven 
taps may be given upon any figures of the dial indifferently; 
indeed, they might equally well be given on the back of 
the watch, or anywhere else, without prejudice to the ulti- 
mate result. But the eighth tap must be given invariably 
on the figure "twelve" of the dial, and thenceforward the 
pencil must travel through the figures seriatim, but in reverse 
order, -"eleven," "ten," " nine," and so on. By following this 
process it will be found at the tap. which, counting from the 
number the spectator thought of, will make twenty, the pen- 
cil will have traveled back to that very number. A few 
illustrations will make this clear. Let us suppose, for in° 
stance, that the honr the spectator thought of was twelve. 
In this case he will count the first taj) of the pencil as thir- 
teen, the second as fourteen, and so on. The eighth tap in 
this case will complete the twenty, and the reader will re- 
member that, according to the directions we have given, he 
is at the eighth tap alwaj^s to let his pencil fall on the num- 
ber twelve ; so that when the spectator, having mentally 
reaches the number twenty, cries, "Stop," the pencil will be 
pointing to that number. Suppose, again, the number thought 
of was " eleven," Here the first tap will be counted as 
"twelve," and the ninth (at which, according to the rule, 
the pencil will be resting on eleven) will make the twenty. 
Taking again the smallest number that can be thought of, 
"one," here the first tap will be counted by the spectator as 
" two," and the "eighth," at which the pencil reaches twelve, 
will count as " nine." Henceforth the pencil will travel re- 
gularly backward round the dial, and at the nineteenth tap 
(completing the twenty, as counted by the spectator) will have 
just reached the figure " one." 

The arthmetical reason forjthis curious result, though simple 
enough in itself, is somewhat difficult to explain on paper, 
and we shall therefore leave it as an exercise for the ingenuity 
of our readers, 

THE " HEADS AND TAILS" TEICKS. 

This is a pretty little trick, of an unpretending nature, but 
of very good effect, especially if introduced in a casual and 
apparently ea;^e)npo?'e manner. The performer borrows, or pro- 
duces frou his own pocket, four penny-pieces. Placing them 



PABLOE AND STAGE MAGIC. 



upon the table, he requests some one to make a pile of them, 
all one way, say " tail'" upwards. He next requests 'the same 
or other person to turn over the -pile so made, without disturb- 
iug the relative position of the coins, and announces Avith an 
air of supernatural knowledge that they will now be found 
" head" upwards. This appears so rediculously obvious, that 
the audience naturally observe (with more or less straightfor- 
wardness of expression) that "any fool could tell that." 
" Pardon me," says the performer, " it is not quite such a 
simple matter as you think. I very much doubt whether any 
of you could do as much. I will place the coins again ; watch_ 
me as closely as you please. I will place them as before — Tail," 
tail,, tail, tail. Is that fairly done? Now I will turn them 
over." He does so, letting the tips of his lingers rest upon 
them. "What are they now ? " A general chorus replies, "All 
heads, of course !" But on examination it is found that only 
three are "heads," and one " tail." Again he arranges them, 
placing them this time alternately— head, tail, head, tail. He 
turns them over. The natural order (beginning from below) 
would again be head, tail, head tail ; but they are found to be 
head, tail, tail, tail. Again he places them, tail, tail, tail, head. 
"When turned over they should be tail, head, head, head, but 
are found to be tail, head, alternatel3^ 

The secret lies is the use of a prepared penny, consisting of 
similar halves (in the case above described two " tails") 
soldered together, so as to be " tail" on either side. This the 
performer palms in his right hand. After first going through 
the operation with the genuine coins, as above, lie picks them 
up with his left hand, and apparently transferring them to the 
right, really transfers three of them only. He then performs 
the trick with these and the prepared coin, when the apparent- 
ly miraculous result above described becomes a matter of 
course. 

It is best not to repeat this trick too often, and a little practice 
is necessary in order to be able to return the three genuine 
coins neatly to the left hand (in which the fourth borroM'ed 
coins must be retained tbroaghout the trick), at the same 
time secretly retaining your own. It is a frequent oc- 
currence for one or other of the company, imagining that tke 
seeming wonder is,^ in some unexplained way, a result of some 
natural principle, to request to be allowed to try for himself. 
It is obvious that, under such circumstances, it would not do 
to hand him the prepared coin, and hence the necessity for 
some quick and natural method of again getting the four 
genuine coins together. 

The trick may be brought to ;iu effective conclusion as fol- 
lows : After you have got rid of the double-faced penny, you 
may may continue, " Perhaps it is a little too complicated for 



TARLOn AND STAGE MAGIC. 



89 



you with four coins ; suppose we try it with one only, and I 
won't even turn it over.'' Placing one of the genuine pence 
on the middle of the right palm,, which yoa hold out horixon- 
tally before you, you draw special ai.tention to the fact that 
the coin is (say) " tail" upwards. Quickly covering it with the 
other hand, yoa say, "What is it now ?" " Tail," is the reply. 
"Wrong again !" you say, and, lifting up the hand, show 
that the coin has this time vanished altogether. This mysterious 
disappearance is effected as follows : When yon apparently 
cover the coin with the left hand, you bring the hands to- 
gether -with a quick lateral motion as though sliding the one 
across the other. This shoots the c in from the palm down 
the opposite sleeve, the motion being so quick that the keenest 
eye cannot detect it. This little sleight is by no means difficult, 
and is well worthy of acquirement, as it may be introduced 
with equal effect in many tricks. 

A HALF DOLLAR BEING SPUN UPON THE TABLE, TO TELL BLIND- 
FOLDED WHETHER IT FALLS HEAD OR TAIL UPWARDS. 

You borrow a half dollar, and spin it, or invite some other 
person to spin it on the table (which must be without a cloth). 
You allow it to spin itself out, and immediately announce, 
without seeing it, whether it has fallen head or tail upwards. 
This may be repeated any number of times with the same re- 
sult, though you may be bliadfolded, and placed at the further 
end of the apartment. 

The secret lies in the use of a half dollar of your own, on one 
face of which (say on the "tail" side) you have cut at the ex- 
treme edge a little notch, thereby causing a minute point or 
tooth of metal to project from that side of the coin. If a coin 
so prepared be spun on the table, and should chance to go 
down with the notched side upwards, it will run down like an 
ordinary coin, with a long continuous "whirr,"' the soiind 
growing fainter and fainter till it finally ceases ; but if it 
should run down with the notched side downwards, the fric- 
tion of the point against the table will reduce this final 
whirr to half its ordinary length, and the coin will finally 
go down with a sort of "flop." The difference of sound is 
not sufficiently marked to attract the notice of the spectators, 
but is perfectly distinguishable by an attentive ear. If, there- 
fore, you have notched the coin on the "tail" side, and it runs 
down slowly, you will cry "tail ;" if quickly, "head." 

If you professedly use a borrowed half dollar, you must 
adroitly change it for your own, under pretence of showing 
how to spin it, or the like. 

Yoa shoutd not allow your audience to imagine that you are 
guided by the sound of the coin, as if once they have the clue, 



90 



PAKLOR AND STAGE MAGiC 



they will easily learn to distinguish the two sounds. They are 
not, however, likely to discover the secret of the notch, and if 
any one professes to have found out the trick, you may, by 
again substituting an unprepared half dollar, safely challenge 
him to perform it, 

SEVEBAL PEESONS HAVING EACH DKAWN TWO CARDS, WHICH HAVE 
BEEN EETUENED AND SHUFEEED, TO MAKE EACH COUPLE 
APPEAE IN SUCCESSION, ONE AT THE TOP AND THE 
OTHEE AT THE BOTTOM OF THE PACK. 

This capital trick was also a great favorite with Comto, who 
christened it, for reasons best known to himself, by the poet- 
ical name of the " The Ladies' Looking-glass." 

The cards having been freely shufGled, you invite a person to 
draw two cards, allowing him free choice. Opening the j^ack 
in the middle, you ask him to place his cards together in the 
opening. You bring them to the top by the pass, make the 
hrst of the false shuffles, and conclude by leaving them on the 
top. Offer the cards to a second person to draw a couple, but 
in opening the cards for him to return them, make the pass, 
so that they may be placed upon the pair already drawn, which 
are thereby brought to the middle of the pack. Again make 
the pass, so as to bring all four to the top. Make another false 
shuffle, leaving those four on the top, and offer the cards to a 
fourth i^erson, each time repeating the process. Make the 
false shuffle for the last time, so as to leave all the drawn cards 
in a body on the top of the pack, with one indifferent card 
above them. The audience believe that they are thoroughly 
dispersed, and your first care must be to strengthen that im- 
pression. If you are expert in card-palming, you may -palm 
the nine cards, and give the pack to be shuffled by one of the 
spectators ; but this is not absolutely necessary, and there is 
some risk of the company noticing the absence of jDart of the 
pack. You remark, "You have all seen the cards placed in 
different parts of the pack, and the whole have been since 
thoroughly shuffled. The drawn cards are therefore at this 
moment scattered iu different parts of the pack. lean assure 
you that I do not myself know what the cards are" (this is the 
only item of /aci in the whole sentence) ; "but yet, by a very - 
Blight, simple movement, I shall make them appear, in couples 
as they were drawn, at the top and bottom of the pack." Then, 
showing the bottom card, you ask, " Is^this anybody's card ? " 
The reply is in the negative. You next show the top card, 
and make the same inquiry. While you do so, you slip the 
little finger under tho next card, and as you replace the card 
you liave just shown, make the pass, thus bringing both cards 
to the bottom of the pack. Meanwhile, you ask the last person 



PARLOR AND STAGE MAGIC. 



91- 



who drew what his cards were, Wheu he names them, yo\i 
" rufle" the cards, and show him first the bottom and then the 
iop card, which will be the two he drew. While exhibiting the 
top card, which will be the two he drew. While exhibiting 
the top card, take the opportunity to slip the little finger of 
the left hand immediately under the card next below it; and as 
you replace the top one makes the pass at that point. You 
now hav-e the third couple placed top and bottom. Make the 
drawer name them, raffle the cards, and, and show them as be- 
fore, again making the pass to bring the card just shown at 
top, with that next following, to the bottom of the pack, which 
will enable you to exhibit the second couple in like manner. 
These directions sound a little complicated, but if followed 
with the cards will be found simple enough. 

TO CHANGK THE FOUR ACES, HELD TIGHTLY BY *■ PEBSON, INTO 
FOUR INDIFFERENT CARDS. 

This is a most brilliant trick, and puzzles even adepts in 
card-conjuring. In combination with the " Shower of Aces," 
which next follows, it was one of the principal facts of the 
Elder Conus, and subsequentlj^ of the celebrated Comte. 

The trick is performed as follows: You begin by announcing 
that you require the assistance of some gentleman who never 
believes anything that he is told. The audience generally take 
this as a joke, but for the purpose of this trick it is really rather 
an advantage, to have the assistance of a person who will take^ 
nothing for granted, and will be satisfied with nothing short of 
oclar demonstration of any fact which you desire him to con- 
cede. Some little fun may be made in the selection, but a 
volunteer having at last been approved of, you request him to 
step forward to your table. Selecting from the pack the four 
aces, you ask him to say aloud what cards those are, at the 
same time holding them up that all may see them. Then lay- 
ing the aces face upwards on the table, you hand him the re- 
mainder of the cards, and ask him to ascertain and state to the 
company, whether' there is any peculiarity about the cards, 
and whether, in particular, there are any other aces in the 
pack. •His reply is in. the negative. You then ask whether 
any other person would like to examine the pack. All being 
satisfied, you take the pack, face downwards, in your left 
hand^ and, picking up the four aces with the right, place 
them on, the top, at the same moment slightly shuffling the 
cards. Then taking the aces one by one (without showing 
them) you place them face downwards on the table. Address- 
ing the person assisting yoxi, you say, "I place these four aces 
on th.e table. You admit that they are the four aces," Your 
victim, not having seen the faces of the cards since Jhej were 



\ 

92 PARLOK AND STAOE MA6^I0. 

replaced on the pack, ftnd having noticed the slight sound pre- 
dueed by your ruffling the cards, will, in all probability, say 
that he does not admit anything of the sort. • " Why," you re- 
ply, "you have only just seen them ; but I'll show them to 
you again, if you like." Turning them face upwards, you 
show that the four cards really are the aces, and again replaces 
them on the pack, ruffle the cards, and deal out the four aces 
face downwrrds as before. You again ask your assistant 
whether he is certain this time that the four cards on the table 
are the aces. He may possibly be still incredulous, but if he 
professes himself satisfied, you ask him what he will bet that 
theee cards are really the aces, and that you have not 
conjured them away already. He will naturally be afraid to 
bet, and you remark, "Ah, I could tell by the expression of 
your countenance that you were not quite satisfied. I'm afraid 
you are sadly wanting in frith, but as I can't perform the tricli, 
for the sake of my own reputation, until you are thoroughly 
convinced, I|will show you the cards once more." This yon 
do, and again replace them on the pack, but before doiuj^ 
so, slip the little finger of the left hand under the top card 
of the pack. Again take off the aces with the finger and 
thumb of the right hand, carrying with them at the same 
this top card. Then with a careless gesture of the right 
hand toward the audience, so as to show them the face of 
the undermost card (the one you have just added), you con- 
tinue, " I really can't imagine what makes yon so incredulou.s. 
Here are the aces" (you replace the five cards on the pack) — • 
"I take them one by one, so, and place them on the table. 
Surely there is no possibility of sleight-of-hand here. Are you 
all satisfied that these are really the aces now ?" The audience 
having noted, as you intended them to do, that the .fifth or 
bottom card was not an ace, naturally conclude that other 
cards have been by some means substituted for the aces, and 
when 3'ou ask the question for the last time, you are met by v. 
general shout of "No !" You say, with an injured expressio]), 
" Eeally, ladies and gantlemen, if you are all such unbelievcn;, 
I may as well retire at once. I should hope that, at. least, you 
will have the grace to apologize for your unfounded sus];i- 
cions." Then turning to the person assisting you, you con- 
tinue, "Sir, as every act of mine appears to be an object of 
suspicion, perhaps yoit will kindly show the company that 
those are the aces, and replace them yourself on the top of the 
pack." 

This he does. But during the course of the above little diss- 
Gussion, you have taken the opportunity to count ofi", and 
palm in your right hand, the five top cards of the pack. It is 
hardly necessary to observe that while doing this, you must 
scrupulously refrain from looking at your hands. The mode 



PARLOR AND STAGE MAGIC. 



of counting is to push forward the cards one by one with the 
thumb, and to check them with the third finger, of the left 
hand. A very little practice will enable you to count off any 
number of cards by feel,- in this mannei-, with the greatest ease. 
When the aces are replaced on the top of the pack, you transfer 
the pack from the left to the right hand, thus bringing the 
palmed cards above them, then placing the whole pack on the 
table, face downwards, inquire, "Will you be good enough to 
tell me where the aces are now?" The answer is generally 
very confident, " On the top of the pack." Without taking 
the pack in your hand, you take olf, one by one, the four top 
cards, and lay them face downwards on the table, as before ; 
then taking up the fifth card and exhibiting it to the company, 
observe, "Yo see there are no more aces left, but if you like 
you can look through the pack.'' 80 saying, you take up the 
cards, and run th'im rapidly over with their faces towards the 
spectators, taking pare, however, not to expose either of the 
five at the top, four of which are the genuine aces. Then ad- 
addressing your assistant, you say, "The company being at 
last satisfied, perhaps you will be good enough to place your 
hand on those four cards, and hold them as tightly as possible." 
Then, holding the pack in the left hand, you take between th« 
first finger and thumb of the right hand the top card of the 
pack, being the only one left of the five you palmed and placed 
over the aces, and say, " Now I am going to take four indif- 
ferent card one after the other, and exchange them for the four 
aces in this gentleman's hand. Observe the simplieity of the 
process. I take the card that first comes to hand'' (here you 
show the face of the card you hold, which we. will suppose to 
be the seven of diamonds), "I don't return it to the pack, even 
for a moment, but merely touch the hand with it, and it be- 
comes the ace of (say) spades" (which you show it to be). At 
the words " return it to the pack," you move the card with 
what is taken to be merely an indicative gesture, towards the 
pack, and at the same instant *' change" it by the third method 
for the top card of the pack, which is one of the aces. 

You now have the seven of diamonds at the top of the pack, 
with the remaining three aces immediately following it. You 
must not show this seven of diamonds a second time, and it is 
theiefore necessary to get it ont of the way. The neatest way 
of doing this is as follows : — You remark, "To show you that I 
take the cards just as they come, I will give them a suffle," 
which you do as indicated for the first of the "false shuffles," 
subject to the modification following. Pass into the right. hand 
first top card (the seven of diamonds) alone, and upon this 
card pass the next three, which are three aces, then the rest of 
the cards indifferently. When all the cards are thus passed 
into the right liand; shuffle them again anyhow, but take care 



PAELOR AND STAGE MAGIC. 



to conclude by bringing tlie four lowest carks to the top ; you 
will now have the three aces uppermost, and the seven of 
diamonds in the fourth place. Taking off the top card, and 
drawing it sharply over the hand of the person assisting, yon 
show that it also is an ace, and in like manner with the next 
card, making, if you choose, a false shuffle between. After the 
third ace has been shown, make a false shufiSe, and finally 
leave at the top the last ace, with one card above it. This may- 
be effected by bringing up from the bottom in cancluding the 
shuffle the two bottom cards, instead of the last only. Taking 
the card between the thumb and first finger of the right hand, 
and showing it with apparent carelessnesss, so as to give the 
company the opportunity of remarking that it is not an ace, 
you replace it on the pack for an instant, saying, " We have 
had three aces, I think. Which is that is wanting ? " Here 
you glance down at the aces on thg table. " Oh ! the ace of 
diamonds, Then the card that I hold must change to the ace 
of diamonds." You have meanwhile effected the change, 
and turning up the card you hold, you show that it is the 
ace of diamonds. 

You may, if you please, use the first instead of the third 
method of making the " change*' in performing this trick, but 
the first method demands a higher degree of dexterity to make 
it equally deceptive ; and the movement used in the third 
method has in this instance the advantage of appearing to 
be the natural accompaniment of the words of the performer. 

A CAED HAVING BEEN THOUGHT OF, TO MAKE SUCH CABD VANISH 
TEOM THE PACK, AND BE DISCOVEEED WHEEEVER THE 
PEEFOEMEE PLEASES. 

This trick should be performed with twenty cards only. You 
deal the cards, face upwards, in three packs, requesting one of 
the company to note a card, and to remember which heap it is. 
When you have dealt the three heaps, you inquire in which 
heap the chosen card is, and place the other two heaps, face 
upwards as they lie, upon that heap, then turn over the cards, 
nnd deal n^ain in like manner. You again inquire which 
1 eap the chosen card i'j now in, place that heap undermost as 
1 efore, and deal again for the third time, when the card 
thought of v/ill be the first card dealt of one or other of the 
three heaps. You have, therefore, only to bear in mind the 
first card of each heap to know, when the f)roper heap is 
pointed out, what the card is, You do not, however, disclose 
your Icnowledga, but gather up the cards as before, with the 
(lesign;ited heep undermost ; Avhen the cards are turned over, 
the heap naturally b' com s uppermost, and the chosen card, 
being the ftrst card of that heep, is now on the top card of the 



PAELOR AND STAGE MAGIC. 



95 



pack. You palm this card, and hand the remaining cards to 
be shuffled. Having now gained not only the knowledge, 
but the actual possession, of the chosen card, you can finish 
the tiick in a variety of ways. You may, when the pack is 
returned replace the card on the top, and giving the pack, face 
upwards, to a person to hold, strike out of his hand all but the 
chosen card, or you may, if you prefer it, name the chosen 
card, and announce that it will now leave the pack, and fly in- 
to a person's pocket, or any other place you choose to name, 
where, it being already in your hand, you can very easily find 
it. A very effective finish is produced by taking haphazard 
any card from the pack, and announcing that to be the chosen 
card, and on being told that it is the card, apologizing for your 
mistake, and forthwith "changing", it by the fifth or some 
other method to the right one. Some fun may also be created as 
follow: — You name, in the first instance, a wrong card — say, 
the seven of hearts. On being told that that was not the card 
thought of, y.ou affect surprise, and inquire what the card 
thought of was. You are told, let us say, the king of hearts. 
"Ah," you remark, "that settles it; I felt sure you were mis- 
taken. You could not possible have seen the king of hearts, 
for you have been sitting on that card all the evening. Will 
you oblige me by standing up a moment, and, on the request 
being complied with, you apparently take the card (which you 
have already palmed) from off the chair on which the person 
has been sitting. The more shrewd of the company may con- 
jecture that you intentionally named the wrong card in order 
to heighten the effect of the trick ; but a fair proportion will 
always be found to credit your assertion, and will believe that 
the victim had really, by some glamour on your part, been in- 
duced to imagine lie saw a card which he was actually sitting 
on. 

This trick is frequently performed with the whole thirty-two 
cards to the piquet pack. The process and result are the same, 
save that the card thought of must be one of the twentj^-'Seven 
cards first dealt. The chances are greatly against one of the 
last five cards being the card thought of, but in such an event 
the trick would break down, as it would in that case require 
four deals instead of three to bring the chosen card to the top 
of the pack. 

It is a good plan to deal the five surplus cards in a row by 
themselves, and after each deal, turn up one of them, and 
gravely study it, as if these cards were in some way connected 
with the trick. 



96 



Pi^BLOE AND STAGE MAQIG, 



THE BOTTLE IMPS. 

These are ininatnre black bottles, about two inches in height, 
with rounded bottoms, and so weighted that, like " tumbler" 
dolls, they rise of their own accord to the perpendicular, and 
will not rest in any other position. The proprietor, however, 
has a charm by which he is able to conquer their obstinate up- 
rightness. For him, and for him only, they will consent to be 
laid down, and even to stand at an angle of 45 degrees, though 
they again rebel if any other person attempts to make them do 
the same. 

The little bottles are made of papier mache, or some other 
very light material, varnished black, the bottom of each being 
a half bullet, spherical side downwards. The centre of gravity 
is therefore at the bottom of the bottle, which is thus compel- 
led alwaj^s to stand upright. The performer, however, is pro- 
vided with one or two little pieces of iron wire, of such a sJze 
and length as just to slip easily into the bottle. One of these 
being held concealed between the finger and thumb, it is 
very easy matter. ,in picking up the bottle, to slip it in, and 
this slight additional weight neutralizing the effect of the half 
bullet at the foot, causes the bottle to lie still in any position. 
Having shown that the bottle is obedient to the word of com- 
mand, the performer again picks it u}) with the neck between 
the first and and second fingers and then, carelessly turning 
it bottom upward, and thus allowing the bit of wire to slip 
again into the palm of his hand, when he is able to again 
tender the bottle for experiment. Partaking of the nature of 
puzzle as well as a conjuring trick, this little to}'' has amused 
thousands, and if neatly manipulated, may be repeatedly ex- 
hibited, even before the same spectators, with little fear of 
detection. 



OLD GYPS eymadge;s 

FORTUNE TELLE H. 



AND THE WITCHES KEY TO LUCKY DREAWIS. 




Every person their own Fortune Teller. 'With this Book you can tell your own or 

any person's fortune far better than any Astrologer, Clarivoyant, or Medium can for 
you. It foretells e xactly what -will happen to you in the future— it gives the Hindoo 
'Secrets of Love, and how to manage, what to say, andjwhat to do to gain the afifections,* 
the love, the heart and the h and of tlie person you desire to marry — it gives the Art of 
Telling Fortunes by the Lines of the Hand— it contains a Complete Dictionary of 
Dreams, so that you can at once interpret any Dream as soon as you hear it. Ittells 
you a charm to protect j-ou from Danger — It teaches how to make the Lucky Dream 
Rose— W^ho your Husband or your Wife shall be— the Love Letter Charm— how to know 
the Sex of Children Before Birth— to know how soon you will Marry— to know what 
Fortune you will have— the Lover's Charm — the only true method to tell Fortunes by 
Tea or Cofi'ee Cup— to know if your love of a pei-son will be mutual — it tells your Lucky 
Days— Fortune Telling by Cards— "What you will be successful in— What your absent 
Wif3 or Husband is doing — wliat your Future Destiny is — Whether your Wife, Hus- 
band or Intended is true to yoM— whether you will ever Marry or not— whether you 
v,-ili have Money left you — whether your Marriage M'ill be Happy — -liow to be Successfi;! 
in your Love affairs— whether you will be-a Widuw— whether you will die Poor or liich 
— .leven Signs of Speedy Marriage— Signs how to Choose a Cxood Husband or Vrife— 
in fart there is no end to the mysterious revelations unfolded in its pages. 

Tills Book is the Most Complete in detail of any published on Fortune Telling and 
Dreams. Every New Thought of the leading Astrologers is laid bef re the reader in a 
comprehensive manner. Anything that you are ti'ouhled about, or anythingyou want 
t> know can be solved and ascertained by consulting this great" Book.' It is an 
Oracle of Fate; it is the Open Gateway to the Great Beyond; study well its pages 
reader, for it may depend on your reading this very Book whether your Future Life 
will be strewn with joy, happiness and plenty, or whether you wiil drift over tliis 
earth like a rudderless ship on a trackless sea. Your Future Destiny can be Clearly 
Ksvealed with almost absolute certainty. You can foretell the Kesults of all Com- 
■'.uerciul and Business Speculations. It points out clearly the pach to Prosperity, 
Kiches, and Happine&s. If you have encountered losses, misfortune, or treachery of 
friends, or have been slighted by the one your affections have centred upon, or had 
had luck in life, do not despair— Old Gypsy Madge will help you through, and tell you 
hr>w to Conqjier at l.ist. She will iighten up your pathway, and teach you to over- 
come all obstacles, and turn the tide of Good Luck tcv.-ards you. 

Sample Copy and Terms to Agents sentby mail, post paid, for 2S Cvnts, or Five 
Copies to (me address for $f.«5«. Ask four friends to buy one each and thua get your 
o>vu Book free. Aaaress__SI^YOCJNG, 173 GreeJiwic-Ji St., r.. V, 



en I n rOH EVSEt f>E*llEM!m im 0% WOMAN! ! 
ULiU YOCJ^'O'^ ORE AT 

Book of 400 Secrets 

OH HOW TO MAKE $10 A DAY WITHOU T CAPITAL ! 
Golden Words to the Working Class. 

How to ^et Rich, or How to Make Money, is a thought that occupies the attention 
of the hiimnn mind as much, if not more, than any ocher subject. The Wonderful Book 
we now place wi thin the reach of all seeking Prohtable and Respectable Employment, 
and whoever follows the instruction that we give in our Book is as certain of Success 
and Riches as that the Sun rises and sets. In our Saolc of Secrets we never lose 
Bight of tlae idea that we are addressing persons without capital, that very large class 
of our people that are battling and struggling hard through life without apparently 
making the slightest headway. 

We point out clearly in our Eoolt off Secrets how any person, no matter what 
their present condition of life is, may make a start in business for themselves and not 
be dependent any longer on a paltry Veekly or monthly pittance. If yon follow the di- 
rection given in the liooU of Secrets, yoti will ?i>on he in circumstances that will 
enable y.ni to become wealthy in a much shortt j' ■ ; : ■- other plan. The 

process is so easy and plain that none can go a- ued. This Book 

contains the most Valuable Discoveries ever 111 ir countries, and 

those who have itnow in their possession, p -i: ; >. part with it. Many 



persons who read tliis Address may say t 
may be true. There are some persons : 
All such we instruct exactly how to ma 
tentimes much faster, S53~andhere is v 
method we teach, and the manner ;' - . 
low it and not be required to b"ec ': 
We learn from those who have 
faster than those selling gi ■ ' " t.^ 
We have started a largii 5i ■ 
at all, and clear from ^00 
inthe £5aoi£ of Secvetii. 
spoken of. You do not reqr i i : - 
If you r..-8 poor so ranch the 1: _'tie 
maki.i-;- m -uey so fait, you w'.Ji \: 
cannot lail. Will yoa make the e 
again present itsslf to you. It);;.: 
toward making his fortune, nnd ]• ; 
tells him how to commence ba-rii 
soon accumulates a tlious^iud dvi. 

We would like to publish a few , 
males and females that hare recc- > 
our Srsat liiook of Seci-ets. 
to bsttar their condition in life — e 
bn 



ivl to sell goods. That 
salesmen or saleswonien. 
itasaiiv salesman and of- 
;r rf K'-.ccess iies.^ The 
- .1 or child, cp" fol- 



i^.ke money 



.eh 



i.ud 

I i^iboth 
the aid of 
! } desires 
an, every 
informa- 
c i ti»e 
with the 



1 tliat can spare an hour ol i 
tion ..i- liad in the BooU of Sscr.;,-. . 
1-1 L I o i»ui*lssli tile same to tiio 

l . : :- ;■> use it, $250. You can be th^ 
Tt attempt to enumerate or r- . . 
be conceived or invente.; 
; Directions given, they v 
::>.• ti-.nn they ever Vac 
-i. "ly branches of the bu 

uedoiieiiToryniiau . 
all. - ' '-;o to v.'ork, any c ' A . 

any v •.: , Urcssmaker, or any o ;•• 
It IS an honorable and highly _ 

'JTO TtZii^ B^ADlHiS.— One luess pos- 

sesses ^-r::' r"' o,>ers i~, th:-; ( . : i: is espec- 

ially. ^ 1 ..lubeiaaviug \,-.occw^is c-.^vciiientiy leave 

thai' ' 

^ over 4!00 methods to malce nio7sejj.fast. It 



ey are the 
- iJook will 
vinginto 
c J. . . . during tlie 
evoie J our et-eniog-s. 
ok of Secrets explains 
L-an malie more tiiau 



In which, a'.'tr.-.-uiag to your own judguaenc yori 
pation; tohow tiiis and no person of good com . 
small the beginning may be. d*^pend upon it V( . 



A NEW AND WONDERFUL BOOK U 



JUST PUBLISHED. 



OF 



Love Making 



SOLVED, 



OR AN 

E^s]^ Road to Karriage. 

start Right and the Battle is Half Won ! 
A life study and most energetic labor has 
been given by the Author, to produce this 
singular Book. Nothing like it has ever 
before left a Printing Press. A man in 
love,^ or a ladj' who.'^e heart has been 
touched with the burning fire of True 
Love, will find in this Book Strange Se- 
crets that no friend couhl tell them, and 
nnEasy Way to Mari-iage tliro' 
Lisve's Intricate Patliway. Italso 
contains many Ancient Hidden S. ci ets 
that the Marriecl should know. If a wife 
has a wayward husband, or feels that she 
is neglected, get this Book in his hands at 
once, and it will surely reclaim liim to his 
first love. It .startles while it teaches. It 
proves that the "Way to Win is no longer a 
secret. If you follow this writer's advice 
failure to win the object of your choice is 
impossible. Send for this Book. It will 
pay you a thousand times its price. Every 
ycointry, civilized and barbarona lias been ransacked to get The Secrets 
/ol'liove Making. It will bi-inir joy to thousands of both sexes, and 
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fstmmentalities combined, 'l liis Book teaches you how to meet every 
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r eached. It cuts deep and strikes the root of the tree. It is full of 
^itrange Things regarding Love Making Avhich you never heard of be- 
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open wide Love's barred door for you, and break down every barrier. 
Marvelous truths burst forth from every page, and the Beacon Litiht of 
Love illumines every footst. p and makes Love's Pathway clear. 

Sample Copy and Terms to Agents, sent by Mail post paid, for 35 Cts. 
or Five Copies to one address for $1.00. Ask four friends to buy one 
each, and thus get your own Book free. Address all orders. 

M. YOUNG, 173 Oreenwich Street, New York. 




AsouT A mi WORTH umi 



1 



M. YOUN(J'S 



UIDE-HORSE OV^NERS. 




A Complete, imM i M IMa Misi the hm, 

A PERFECT HORS E DOCTOR! 

There is no one "who Owns, Cares for 
or Works a Horse, who can afford to be 
without this work. It is just the bandy, 
conivlt'te and Practical Manual tiiathaa 
long been needed by Horse Owners. It 
is written by a well-known Veteriuary Sui geoii 
and Horse Dealer of great experience, ho tUt no 
matter of importance relatiuj^ to the Horsein all 
its existence is neglected. This work thoroughly 
informs you about the Kind ot Hor^eto Buj To 
Detect Horse jockey-Tricks. To Manage a B rse. 
loShoe a Horse. To Break and Train Ht.^es. 
?To Cure all Kinds of Horse Diseases. Tht.^ja 
nothing relating to Buying. Breeding. ReaA,g, 
Training, Shoeing, Feeding, Taming, Breaking and Doctoring Horses bi^ is 
thoroughly detailed. In addition is given the Art of Training E^d 
Taming Horses by a New Method. And it tells-HoW to "lakea H.^e 
Lie Down. —To Catch a Wild Horse.— To Teach a H.^rse T-^'^^ 
a Horse Stand.— To Make a Horse Sit on its Haunches.— To MaKe a-fUte 
Come Down for Mounting.— To Make a Horse Follow you.-To MakV 
Horse Stand Still without Hitching.— To Break Horses to Kide.-ioi- i 
vent a Horse Running Away. Illustrated wi th Er. gravings. ^^^„,_. I 
It isinvaluable when Horses are Attacked with Diseases requin J 
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causeit enables any one to Doctor their Own Horse. It gives Best Ruk 
for Telling the Age of a Horse, with a Fine Engravmg shmvmK^^^^^^ 
pearance of the Teeth at Ea< h Year. Also, much other 
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Horse Books costing from five to ten dollars, but condensed so as to jivj 
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Ask Four of your neighbors to buy one copy each, and thus fe^^t your 

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has no equal. HorsemcM throughout the c<mntry write us most flateiiug 

testimonials. 



SAMPLE COPT sent posipnid hij Mail on receipt of L%>C 



Address WI. YOUNG, Publisher, 

173 GREENWICH ST.. NEW YORK. 



